We found 5718 price guide item(s) matching your search

Charles E. Rubino (American, 1896-1973). Painting after a work by Rembrandt entitled "The Man with the Golden Helmet." Charles Rubino's estate label is adhered to the verso. Unframed; Height: 26 in x width: 20 in. Framed; Height: 36 1/2 in x width: 30 1/4 in.

Two Rembrandt engravings to include Portrait of Wtenbogaert and another of Sylvius and one other, all in mounts but unframed, largest 22 x 32cm (3)

Collection of Pottery Items comprising Dutch Delft plate depicting Rembrandt, 12 inches (30cms) in diameter, blue and white Italian fruit bowl, 12 inches (30cms) in diameter, Doulton Series plate, 10 inches (25cms) in diameter and a Dutch blue and white kettle stand (4)

After Rembrandt van Rijn (1606-1669), possible self-portrait, etching, late impression, 7 cm x 6.5 cm, framed and glazed.Estate of the late Della Howard

Replete collection on album leaves, comprehnsive 1852 to 1940s including basic issues complette to 1913 5gld, as well as child welfare sets 1924-34 fine used, 1924 international exhibition set mint, 1928 Olympics mint, 1932 tourist propaganda set fine used (2), Rembrandt set fine used (2), 1950 cultural set mint, plus a good range of postage dues, early court of justice sets etc. Cat. £6,500+

Circle of Rembrandt Harmensz van Rijn (1606-1669)A washerwoman bears inscription 'R*sep** boec*e van/ alle wetenschappen' (verso)pen and brown ink and brown wash on paper14.8 x 20.5cm (5 13/16 x 8 1/16in).Footnotes:ProvenanceSir John Charles Robinson (1824-1913) (Frits Lugt 1433)Sale, Paris, 25 June 1913, lot 75 (as G. Maes)Sale, Christie's, Paris, 22 June 2005, lot 4 (as Attributed to Nicolas Maes)Private Collection, UKWith Crispian Riley-Smith, from whom purchased by the present ownerFor further information on this lot please visit Bonhams.com

REMBRANDT HARMENSZ. VAN RIJN Leiden 1606 - 1669 Amsterdam: Die Ruhe auf der Flucht, Nachtstück. Radierung um 1644. Bartsch 57. Seidlitz 57, III (von IV). White-Boon 57, IV. Nowell-Usticke 57, V (von VIII). Hinterding/Rutgers (New Hollstein) 216, VI (von IX). - Auf Bütten. 9,2 x 5,9 cm. Mit breitem Rändchen. Ränder leicht gebräunt. Verso mit leichten Kleberesten. Mit geglätteten Knickspuren sowie in der linken oberen Ecke mit kleinem Stempel „o“ in Braun. Guter Abdruck. [ms]

REMBRANDT - Kopien: Brustbildnis eines älteren Herrn, vermutlich Selbstbildnis. Oel auf Leinwand, auf Holz aufgezogen, nach Rembrandt um 1800. 44 x 34 cm. Mit Retuschen und stellenweise leichter Blasenbildung. Gerahmt. [ms]

FRANÇOIS VERWITT (ca. 1623, Rotterdam - 1691). "Gallant Scene in an Interior. Oil on panel. Signed. With label of the Sala Parés (Barcelona) on the back. Measurements: 62,5 x 88,5 cm; 78,5 x 104 cm (frame). Author belonging to the German Golden Age, he was the son of the painter Adriaan Verwilt of Antwerp and was apprenticed to Cornelius van Poelenburgh (1586-1667) in Utrecht together with Jan van der Lijs, among others. Verwilt became a versatile painter in many genres, including historical, mythical and biblical landscapes, genre works, portraits, still lifes and contemporary interiors of agriculture and middle-class urban life . He is considered part of the "Poelenburch school of landscape painting". His colours range from the style of Poelenburgh in his landscapes to the chiaroscuro of Rembrandt in depictions of contemporary Dutch life. His paintings are represented in many museums, including those in Amsterdam, Rotterdam, Haarlem, Budapest, Leningrad, Mainz, Osnabrück, Paris, Vienna and elsewhere. There are no biographies or monographs of his works. This painting brings together the most valued attributes of Flemish painting, which during the Baroque period was able to perpetuate the refined technique of masters such as Van Eyck in the treatment of detail, while at the same time domestic scenes gained in naturalness, as we see in this lively interior. An informal gathering seems to be taking place, a meeting of aristocrats enlivened by the music of violinists. A lady is practising her singing, a servant is pouring wine, a noble couple are exchanging confidences.... The ochre and earthy tones of the room act as a chromatic counterpoint to the gauze and velvet cloaks worn by the guests. The glazes of the glass, the collars and breastplates of fine lace, the pleating of the sleeves, the faces alight with conversation..., the precious detailing is combined with the general capture of a warm, welcoming atmosphere. Although Brussels was the political centre of Flanders, Antwerp was the city where the most important artistic activity had been centred since the 16th century. Antwerp had enjoyed a prominent position in Europe during that century, as its port had been the busiest in the Netherlands, and the Netherlands had prospered as a maritime power. Antwerp retained its pre-eminent position as an artistic centre for much of the 17th century, so that when Jan Brueghel, Rubens and Van Dyck were appointed court painters to the Archduchess Elisabeth, they imposed the condition that they could continue to maintain their workshop in Antwerp, rather than going to reside with the court in Brussels. Genre works, or scenes from everyday life, were very common in the 17th century. Many artists followed Pieter Bruegel the Elder's tradition of depicting lower-class peasant scenes, although elegant upper-class subjects were also common, with elegantly dressed couples at balls or in love gardens. Adriaen Brouwer, whose small paintings often show peasants brawling and drinking, was particularly influential on later artists. Paintings of elegantly dressed couples in the latest fashion, often with underlying themes such as love or the five senses, were commonly painted by Hieronymous Francken the Younger, Louis de Caulery, Simon de Vos, David Teniers the Younger and David Rijckaert.

Follower of Rembrandt van Rijn (1606-1669)Head study of a gentleman with beard and wearing a cloth cap, oil on canvas, 39.5 x 29cm

After Rembrandt Harmensz van Rijn, 19th CenturySaint Paul oil on canvas116 x 100cm (45 11/16 x 39 3/8in).Footnotes:The present composition is after Rembrandt's original, now in Kunsthistorisches Museum, Vienna.For further information on this lot please visit Bonhams.com

Selection of art history hardback books, including: Art Deco, by Iain Zaczek; All Colour Book of Art Deco, by Dan Klein; Art of China Korea and Japan, by Peter Swann; Rembrandt Etchings, the Pushkin Museum of Fine Arts Moscow; Je Suis Le Cahier: The Sketchbooks of Picasso, by Arnold Glimcher and Marc Glimcher (Eds.); Picasso: The Arts Council of Great Britain 1960, exhibition catalogue from the Tate Gallery exhibition 1960; Banksy: Wall and Piece; Matisse, by Gilles Neret; Keith Haring, by Alexandra Kolossa; and others.

Tagreed Darghouth (Liban, née en 1979)L'Explosion acrylique sur toilesigné 'Tagreed' et daté '2021' (en bas à droite), signé, daté et titré au dosexécuté en 2021150 x 200cm (59 1/16 x 78 3/4in).acrylic on canvassigned and datedFootnotes:ProvenanceCollection de l'artisteLa présente oeuvre est vendue par le Fonds Claude et France Lemand au profit des Artistes et de l'Institut du Monde ArabeL'Explosion, 2021. Thierry Savatier : « L'Explosion rappelle directement le drame qui secoua Beyrouth le 4 août. Celles et ceux qui ont vu le port dévasté et les nuages de fumée ne peuvent éviter ce rapprochement. Mais la force de cette grande toile réside, une fois encore, dans son caractère universel car l'artiste, par l'absence délibérée de personnages dans son tableau, ne cède pas au pathos ; elle se limite à peindre un paysage dévasté. Picasso disait que, pour être réussie, une nature morte aux poireaux devait sentir le poireau ; ici, la toile a le parfum des ruines calcinées. »Tagreed Darghouth est née en 1979 à Saida au Liban. Elle est diplômée de l'Institut des Beaux-Arts de Beyrouth (2000) et de l'Ecole nationale des Arts Décoratifs de Paris (2003). En 2000 et 2001, elle suit les cours de Marwan Kassab Bachi (1934-2016), qu'elle admire et qui a beaucoup influencé son travail, à la Ayloul Summer Academy de Amman (Jordanie). Elle nourrit son art de lectures et de l'observation des maîtres anciens et modernes, en particulier Rembrandt, Courbet, Soutine et Lucian Freud.Proche du néo-expressionnisme, Tagreed Darghouth, qui vit et travaille à Beyrouth, construit ses toiles en couches épaisses de matière, tout en utilisant une palette sobre, sans aucun travail préparatoire. Ses œuvres, de formats moyen et grand, parfois en polyptiques, interrogent le spectateur et le confronte à ses contradictions, à ses erreurs et à ses doutes.Born in 1979, Saida, Lebanon, Tagreed Darghouth studied fine arts at the Lebanese University in Beirut as well as earned a diploma in art education. She then went on to study space art at the Ecole Nationale Supérieure des Arts Décoratifs in Paris. Tagreed's social and political themes draw attention to hidden forms of violence and the misconception of the other. In recent years, Darghouth's focus has expanded beyond the borders of Lebanon to encompass global issues. Her last two exhibitions explored the atomic bomb, featuring eerie paintings of mushroom clouds, skulls and the craters left in the Navada desert by nuclear weapons testing, which has transformed the landscape into a deformed, pockmarked wasteland resembling the surface of the Moon. For Darghouth, these exhibitions are all related. 'Every subject gives me a visual challenge to work on. It's a matter of choosing an object that makes the work variable and rich,' she explains. 'I think it's like I'm telling a story with each subject as a chapter of the work.'Click for an instant shipping quoteFor further information on this lot please visit Bonhams.com

After Rembrandt, self portrait, oil on canvas, unsigned, 60cm by 50cm

AFTER REMBRANDT "The Night Guard (or Night Watch)" oil on canvas, unsigned in gilt, wood and gesso frame 91 cm x 112 cm CONDITION REPORTS Has significant crazing all over - possibly been in a source of heat. Under UV has clearly been treated / cleaned and re-varnished. See images for more details.

AFTER REMBRANDT, SMALL COLOURED PRINT IN FOLIATE GILT FRAME, 20CM WIDE

A FOLIO OF ART EXHIBITION POSTERS to include Rembrandt at the Rijksmuseum, Raphael at the British Museum and Islamic Art posters Provenance: The Studio of Peter Snow (1927-2008)Peter Frederick Briscoe Snow was an English painter, theatre designer and teacher. From the 1960s to the 1990s he was head of postgraduate theatre design at the Slade School of Fine Art

A pair of watercolour on ivory miniatures, depicting Rembrandt and Rubens, possibly by Emma Eleonora Kendrick (1788-1871) (2)

THE INGRAM SISTERS, of Staindrop Hall, Co. Durham.  "Etchings". A square quarto Victorian album in dark half morocco containing 40 etchings by the daughters of John Ingram of Staindrop Hall, a noted art collector & Italian traveller.  Most of the etchings bear the monogram of either Augusta Isabella, Caroline or Elizabeth Christian Ingram and are dated circa 1816 - 1820s. They were taught by the Venetian etcher Francisco Novelli & these works range from images after Rembrandt & the Old Masters & continental views to Hartlepool & Newcastle views & a vignette after Bewick.  A manuscript gift inscription to the front free endpaper is dated 1867.Foxing and browning throughout with the worst at front and back of vol, in margins and back of plates. Some spots to plates. Only one image of Hartlepool.

Omega 9ct gold ladies manual wind wristwatch, on leather strap, gold cameo brooch, fob and horseshoe charm, all 9ct hallmarked or stamped and a Dutch Rembrandt spoon

Lot of silver coins. Various. 24 x 2½ guilders. 130 x 1 guilder Juliana. 12 x 1 guilder Wilhelmina. 2 x 10 guilders. 1 x 5 euro Rembrandt five. 110 x silver dime. 1x Frans Hals coin. 1x 0.25 cents. In good condition.

Decorative composition metal table lamp with Rembrandt van Rijn. Second half of the 20th century. Dimensions: H 68 cm. In good condition.

The Complete Works of Michelangelo in 2 folio illustrated volumes 1966 in slipcase, Vincent Van Gogh Paintings & Drawing in 2 volumes Rizzoli 1990 in slipcase, Rembrandt and the Bible illustrated with Paintings, etchings and drawings 1990   

After James McNeil Whistler (1834-1903) lithograph - Gants de Suede, signed in the stone with butterfly, together with etching after Rembrandt, self portrait. (2)

GOVAERT FLINCK(Kleve 1615–1660 Amsterdam)Tronie eines bärtigen Mannes. 1650.Öl auf Leinwand.Oben rechts signiert und datiert: G. flinck. f. 1650.61,5 × 50,7 cm.Provenienz:- Privatsammlung, England, ca. 1831–1857 (gemäss verso Stempel auf dem Keilrahmen von Francis Leedham, einem zu dieser Zeit in London tätigen Restaurator).- Auktion Sotheby's, London, 1.7.1953, Los 60.- Martin B. Asscher, London, vor 1970.- Schweizer Privatsammlung, bis 2012.- Auktion Dobiaschofsky, Bern, 11.5.2012, Los 307.- Europäischer Privatbesitz.Ausstellung:Amsterdam 2018, Ferdinand Bol and Govaert Flinck: Rembrandt's Master Pupils, 13.10.2017–18.2.2018, Museum Het Rembrandthuis, Nr. 28.Literatur:- Helmut Börsch-Supan: Die Gemälde im Jagdschloss Grunewald, Berlin 1964, S. 66, Nr. 82.- J. W. von Moltke: Govaert Flinck: 1615–1660, Amsterdam 1965, S. 79, Nr. 67, Abb. 67.- Werner Sumowski: Gemälde der Rembrandt-Schüler, Landau 1983, Bd. II, S. 1030 und 1082, Nr. 650.- Norbert Middelkoop, L. van Sloten, Tom van der Molen: Ferdinand Bol and Govaert Flinck: Rembrandt's Master Pupils, Amsterdam 2017, Kat.-Nr. 28, Abb. 65, S. 56, Beschreibung S. 228.- Tom van der Molen: Catalogue raisonné of the Paintings of Govaert Flinck (zu erscheinen).Dieses eindrückliche Bildnis eines greisen Mannes mit Bart von Govaert Flinck wurde zuletzt 2018 in der Amsterdamer Ausstellung der Öffentlichkeit präsentiert. Es handelt sich hierbei um ein sogenanntes Tronie, eine für das 17. Jahrhundert typische Bildgattung, die eine porträtähnliche Charakterstudie in Phantasietracht oder mit interessanter Physiognomie zeigt. Der skizzenhafte Malstil unseres Gemäldes lässt dabei den Dargestellten besonders lebendig und lebensnah erscheinen, seine grauen Bart- und Haupthaare sind durch einzelne pastose Pinselstriche virtuos gestaltet.Govaert Flinck war einer der bedeutendsten Schüler Rembrandts van Rijn (1606–1669). Er war zwischen 1635 und 1636 in der Amsterdamer Werkstatt des Meisters tätig und etablierte sich anschliessend als eigenständiger Maler (siehe Arnold Houbraken: De Groote Schouburgh de Nederlantsche kontschilders en schilderessen…, Amsterdam 1718–1721, Bd. II, S. 18). J. W. Von Moltke beschreibt den hier dargestellten Mann als Heiligen Petrus (siehe Literatur), während Werner Sumowski betont, dass die fehlenden Attribute eine wohl gewollte Zweideutigkeit entstehen lassen. Der nicht identifizierte weise Mann scheint ebenfalls Rembrandt Modell gestanden zu haben, so beispielsweise in seinem berühmten 1636 entstandenen „Opfer Isaaks“, heute in der Eremitage in Sankt Petersburg (Inv.-Nr. ГЭ-727). Die Feinheit des vorliegenden Tronies deutet darauf hin, dass es sicherlich nach dem lebenden Modell gemalt wurde, worauf der äusserst detailliert gemalte Bart und die tiefen Falten des Gesichts und der Hand sowie ein mögliches Pentimento im Scheitel hindeuten. Die gut erhaltene Maloberfläche ist durch eine energische, virtuose Farbgebung, eine flüssige Pinselführung in den Haaren und im Bart und eine feine Gesichtsmodellierung charakterisiert, die besonders typisch für das letzte Lebensjahrzehnt des Künstlers ist. Der weich verlaufende Farbauftrag unterscheidet sich stilistisch von Rembrandts Tronies und spiegelt Flincks Unabhängigkeit vom Meister in seinem Reifewerk wider.Dr. van der Molen bestätigt die Eigenhändigkeit nach Prüfung des Originals und wird das Gemälde in dem zu erscheinenden Werkverzeichnis des Künstlers publizieren. Er betont, dass es sich um ein charakteristisches und qualitatives Beispiel der späten Tronien von Govaert Flinck handelt.

Rembrandt van Rijn (1606-1669)Self Portrait with SaskiaEtching, 1636, a good impression of New Hollstein's third state (of four) printing with light plate tone, on cream laid paper without watermark, platemark 105 x 96 mm (4 1/8 x 3 3/4 in), sheet 115 x 104 mm (4 1/2 x 4 1/8 in) some light wear to the plate within Rembrandt's right cheek and forehead (unframed)Literature:New Hollstein 158 iii/iv

Rembrandt van Rijn (1606-1669)Christ Driving the Money Changers from the TempleEtching with drypoint, 1635, a richly inked impression of New Hollstein's second state (of four), on laid paper without watermark, likely mid-to-late 18th century, platemark 135 x 166 mm (5 1/4 x 6 1/2 in), sheet 140 x 170 mm (5 1/2 x 6 3/4 in), before later rework, fine line of inking error centre left edge, very small surface dirt within group to upper right (unframed)Literature:New Hollstein 139 ii/iv

** Rembrandt van Rijn (1606-1669)The Descent from the Cross: Second PlateEtching and engraving, 1633, on chine collé, a good but later 19th century impression of New Hollstein's final state (of eight), printing with strong contrasts with Lamoureux's address in the lower right corner, platemark 525 x 400, sheet 760 x 550 mm (20 3/4 x 16 in), the chine collé sheet with conservation tissue and affixed to non-acidic support sheet, some careful repairs to marginal nicks (unframed)Literature:New Hollstein 119 ** This lot has been imported from outside the United Kingdom to be sold at auction under temporary importation, and therefore the buyer must pay the import VAT at a rate of 5%. On proof of export outside the United Kingdom, this duty can be refunded.

Rembrandt van Rijn (1606-1669)The Presentation in the Temple: Oblong PlateEtching, drypoint and engraving, circa 1639, a good but 18th century impression of New Hollstein's third state (of five), with the small cross in the lower left but before later rework, on laid paper without watermark, sheet 215 x 289 mm (8 1/2 x 11 3/8 in), thread margin or trimmed just within the platemark, small repair to perforation in the upper left quadrant (unframed)Literature:New Hollstein 184 iii/v

Rembrandt van Rijn (1606-1669)The Raising of Lazarus: the Small PlateEtching with touches of drypoint, 1642, a good impression of New Hollstein's second state (of two) on buff wove paper without watermark, sheet 151 x 116 mm (6 x 4 1/2 in), thread margins, small area of restoration just below Lazarus, fine split/printers' crease running from upper centre diagonally left, upper centre with small careful restoration to margin (unframed)Literature:New Hollstein 206 ii/ii

** Rembrandt van Rijn (1606-1669)The Descent from the Cross: Second PlateEtching and engraving, 1633, a good but later impression of New Hollstein's sixth state (of eight), with the address of Justus Danckerts coarsely burnished out but before the addition of the 'Lamoureux' address in the lower right corner, an evenly printed impression on cream wove paper without watermark, some signs of wear in the plate but before later rework, platemark 530 x 410 mm (20 7/8 x 16 1/8 in), sheet 620 x 480 mm (24 1/2 x 18 7/8 in), repaired marginal tear in the lower right corner, old folds within the margins, some toning and scattered light spotting (unframed)Literature:New Hollstein 119 vi/viii** This lot has been imported from outside the United Kingdom to be sold at auction under temporary importation, and therefore the buyer must pay the import VAT at a rate of 5%. On proof of export outside the United Kingdom, this duty can be refunded.

** Rembrandt van Rijn (1606-1669)Jacob Haaringh ('Young Haaringh')Etching with drypoint, 1655, but a later albeit very good impression from the cut plate, probably New Hollstein's fourth state (of 6), on laid paper with possible indistinct watermark, sheet 95 x 71 mm (3 3/4 x 2 3/8 in), trimmed within the image, old folds visible (unframed)Literature:New Hollstein 292 iv/vi** This lot has been imported from outside the United Kingdom to be sold at auction under temporary importation, and therefore the buyer must pay the import VAT at a rate of 5%. On proof of export outside the United Kingdom, this duty can be refunded.

Rembrandt van Rijn (1606-1669)Joseph and Potiphar's WifeEtching and engraving, 1634, a good but later impression of New Hollstein's third state (of four), on wove paper without watermark, sheet 91 x 114 mm (3 5/8 x 4 1/2 in), trimmed to or just within the platemark, lower left corner with small loss to borderline, minor nicks to extremities (unframed)Literature:New Hollstein 128 iii/iv

Rembrandt van Rijn (1606-1669)Beggars Receiving Alms at the Door of a HouseEtching and drypoint, 1648, a good but later impression of the third state (of five), on laid paper without watermark, before re-work to the shadows and arch, sheet 167 x 126 mm (6 1/2 x 4 3/8 in), thread margin or trimmed just within the platemark, repaired split above the signature and minor restoration to lower right corner, faint damp-stain to upper quadrant, even toning and minor surface dirt (unframed)Literature:New Hollstein 243 iii/v

Rembrandt van Rijn (1606-1669)Christ at Emmaus: The Larger PlateEtching with drypoint, 1654, a very good but later impression of New Hollstein's fourth state (of five) before further rework, on laid paper without watermark, sheet 211 x 161 mm (8 3/8 x 6 3/8 in), thread margins, some faint signs of expert restoration to upper margin, not affecting the platemark (unframed)Literature:New Hollstein 283 iv/v

Rembrandt van Rijn (1606-1669)The Baptism of the EunuchEtching with touches of drypoint, 1641, a good but later impression of New Hollstein's third state (of four), some faint signs of burr visible, with the accidental scratch behind St Philip's head and with the small cross in the lower left corner, on laid paper without watermark, sheet 188 x 220 mm (7 1/4 x 8 3/4 in), expert restoration to blank area above horse at centre left, restored marginal loss to lower left and lower right corners, minor surface dirt (unframed)Literature:New Hollstein 186 iii/iv

Rembrandt van Rijn (1606-1669)Abraham Francen, ApothecaryEtching, drypoint and burin, circa 1657, a good but later impression of New Hollstein's eleventh state (of twelve) before later reworking, on thin buff laid paper without watermark, platemark 160 x 206 mm (6 1/4 x 8 1/8 in), small repaired tear upper centre, even toning to sheet (unframed)Literature:New Hollstein 301 xi/xii

Rembrandt van Rijn (1606-1669)Christ Disputing with the Doctors: A SketchEtching and drypoint, 1652, but a later impression of New Hollstein's second state (of two), delicate details printing clearly with good contrasts, on wove paper without watermark, sheet 95 x 144mm (3 3/4 x 5 7/8 in), trimmed to platemark with some thread margins, small marginal nicks and loss to upper left and lower right corner (unframed)Literature:Hind 277; New Hollstein 281 ii/ii

Rembrandt van Rijn (1606-1669)The Landscape with the CowEtching, circa 1650, a later impression of New Hollstein's final state (of 5), on ivory laid paper without watermark and printing with plate tone, platemark 104 x 128 mm (4 1/8 x 5 in), sheet 114 x 140 mm (4 1/2 x 5 1/2 in) (unframed)Literature:New Hollstein 251 v/v

Rembrandt van Rijn (1606-1669) Old Bearded Man in a High Fur Cap with Eyes ClosedEtching, circa 1635, but a later impression on laid paper without watermark, platemark 111 x 102 mm (4 1/4 x 4 in), sheet 122 x 110 mm (4 3/4 x 4 1/4 in), minor even toning, some minor wear within the plate (unframed)Literature:New Hollstein 148 iv/iv

** Rembrandt van Rijn (1606-1669)Self Portrait in a Velvet Cap and PlumeEtching, 1638, a good but later impression of New Hollstein's third state (of four), on laid paper affixed onto support, sheet 132 x 104 mm (5 1/4 x 4 1/8 in), mounted on card support, careful restoration to loss of upper third section of the sheet, restored just above the line of the cap (unframed)Literature:New Hollstein 170 iii/iv** This lot has been imported from outside the United Kingdom to be sold at auction under temporary importation, and therefore the buyer must pay the import VAT at a rate of 5%. On proof of export outside the United Kingdom, this duty can be refunded.

Rembrandt van Rijn -Einblattdruck des "Curateur over den Insolventen Boedel van Rembrant van Rijn" mit Ankündigung der Versteigerung von Kunstwerken aus Rembrandts Besitz. Mit einer mehrzeiligen Holzschnitt-Initiale.[Amsterdam, nach dem 24. September 1658]. 19 x 17 cm. Auf Trägerkarton montiert, gerahmt. Gesamtgrösse: 37,5 x 34,5 cm. - SEGGET VOORT (sagt es weiter)Hofstede de Groot, C. Die Urkunden über Rembrandt (1575-1721), Haag 1906, No. 197: Plakat, die Auktion von Rembrandts Kupferstichsammlung anzeigend. S. 245f.: "kein Exemplar mehr bekannt". - Ein ebenso unscheinbares wie zentrales Dokument zum finanziellen Bankrott Rembrandts. Dessen Geldnöte kulminierten 1656, weshalb er am 17. Mai dieses Jahres sein Haus an seinen Sohn Titus überschrieb. Kurz darauf wurde Rembrandts Zahlungsunfähigkeit amtlich und ein zwei Jahre währender Ausverkauf seiner Vermögenswerte, vor allem seiner Kunstsammlung, nahm seinen Lauf. Unser Wandanschlag betrifft "de vordere Papier Kunst" sowie noch vorhandene Bestände "van der voornaemste so Italiaensche, Fransche, Duytsche ende Nederlandtsche Meesters". Diese habe Rembrandt "met een groote curieushayt te samen versamelt". Darüber hinaus stehen auch eine Anzahl ("een goede partye") von Zeichnungen und Skizzen Rembrandts selbst zum Verkauf ("Teeckeningen ende Schetsen"). Die Auktion, die bei Barent Janzs Schuurman, dem Wirt des Gasthauses Kaiserkrone an der Kalverstraat stattfinden sollte, ist nicht genau terminiert: ""De verkopinge sal wesen ten daeghe, ure ende Jaere als boven". Worauf sich dieses "boven" (oben) bezieht, ist unklar, Hofstede de Groot vermutet eine Überschrift, die unser Blatt jedoch nicht aufweist, möglicherweise wurde sie auch abgetrennt. Das einzige uns bekannte Vergleichsblatt befindet sich im British Museum (Signatur: 1857,0613.990) und weist ebenfalls keine Überschrift auf. - Bereits im Dezember 1655 hatte Rembrandt besagten Gasthaus Kaiserkrone einen Raum gemietet und dort einige seiner Besitztümer zum Verkauf angeboten, worauf sich offenbar auch das vorliegende Blatt bezieht ("daer de verkopinge voor desen is geweest"). "Der erzielte Gewinn war eine bittere Enttäuschung, die erste von vielen, die in den schweren Jahren noch folgen sollten. Der Ruin zeigte ihm seine Fratze." (Simon Schama, Rembrandts Augen, Berlin 1999, S. 597). - Zustand: Etwas gebräunt, wenig fleckig, kl. Randeinrisse. Insgesamt von sehr guter Erhaltung. - Provenienz: Antiquariat Hans Marcus, Düsseldorf. - Ausstellung "Rembrandts schatkamer". Rembrandthuis Amsterdam, 25. September 1999 - 9. Januar 2000 (Ausgestellt als "Aanplakbiljet van de verkoop van Rembrandts verzameling, 1656"). - Privatbesitz Deutschland.

José António Correia (1822-1896)A male figureCharcoal drawing on paperAfter Rembrandt (1606-1669)Signed and dated 184920x18 cm

SILBERNES TISCHFEUERZEUG, 20. Jh., Niederlande, 833er Silber (Marke von 1814-1953), Gesamtgewicht 381 Gramm. Gemarkt mit Feingehaltsangabe, Prüfamtspunze "M", Jahrespunze "F" (wohl 1940) und Meistermarke "HH" - Hubert Hooykaas / Schoonhoven. Benzin-Feuerzeug. Wandung mit vielfigurigem Relief, u. a. Szene nach dem Gemälde "Die Nachtwache" von Rembrandt van Rijn. H. 9,5 x L. 8 x B. 3 cm. (Gebrauchsspuren; Docht muss erneuert werden; Mechanik löst nicht aus - Überholung empfohlen).

nach BUGATTI, REMBRANDT ANNIBALE (Mailand 1884-1916 Paris), Skulptur: "Laufender Panther", Bronze, dunkelbraun patiniert, auf der Terrainplinthe vertieft signiert R. Bugatti in Ligatur; posthumer, neuzeitlicher Guss. Der italienische Bildhauer gilt als Wegbereiter des Art déco Italiens. H. 18 x L. 49 x B. 7,5 cm.

Rembrandt Van Rijn, "Pharisees in the Temple" etching and drypoint on laid paper. Partial watermark; Haewood 1366. Signed and dated in the plate upper center Rembrandt.f. 1648. Catalog: Bartsch, Hollstein 126. Provenance: Dr. George Kofas collection, former professor of fine arts; University of Maryland overseas division, as well as a fine arts instructor for the Department of Defense.Image Size: 2 13/16 x 5 in. Overall Framed Size: 15 x 17 in.

Unbekannter Maler (19. Jh.)Großformatige Darstellung der Heiligen Familie nach Rembrandt. Öl/Lwd. (stärkere Altersspuren). Ca. 190x 130 cm, originaler Rahmen (l. best.). Ca. 197x 137 cm.

NO RESERVE Barnes (Susan J.) Nora de Poorter and others. Van Dyck: A Complete Catalogue of the Paintings, 2004 § Brown (John) Velázquez: Painter and Courtier, 1986 § Haak (Bob) Rembrandt: His Life, Work and Times, 1969 § Strieder (Peter) Dürer: Paintings, Prints, Drawings, 1982, colour illustrations, original boards or cloth, dust-jackets, some marks, some spine ends bumped and chipped, first and last with original slip-cases; and c.100 others, European art reference, v.s. (c.100)

After Rembrandt Harmenszoon Van Rijn (Dutch, 1606-1669). Etching on paper titled "Bust of Man Wearing a High Cap," depicting a seated man looking off to the right. Initialed and dated 1630 in the plate along the upper left. With Certificate of Authenticity from Park West Gallery. A 20th Century impression printed by Marjorie Van Dyke for the Millennium edition.Sight; height: 5 in x width: 4 1/4 in. Framed; height: 22 5/8 in x width: 21 7/8 in.Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions.com with any condition questions.Sight; height: 5 in x width: 4 1/4 in. Framed; height: 22 5/8 in x width: 21 7/8 in.

Henry Moore O.M., C.H. (British, 1898-1986)Mother and Child, from 'Shelter Sketchbook' (Cramer 83) Lithograph printed in colours, 1967, on wove, signed and numbered 94/180 in pencil, printed by J.E. Wolfensberger, Zurich, co-published by Marlborough Fine Art Ltd., London, and Rembrandt Verlag GmbH, Berlin, the full sheet, 370 x 310mm (14 1/2 x 12 1/4in)(SH)(unframed)Footnotes:Click for an instant shipping quoteThis lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Henry Moore O.M., C.H. (British, 1898-1986)Black Seated Figure on Orange Ground, from 'Shelter Sketchbook' (Cramer 80) Lithograph printed in colours, 1966, on Japon nacré, signed and numbered 148/180 in pencil, printed by J.E. Wolfensberger, Zurich, co-published by Marlborough Fine Art Ltd., London, and Rembrandt Verlag GmbH, Berlin, the full sheet, 370 x 310mm (14 1/2 x 12 1/4in)(SH)(unframed)Footnotes:Click for an instant shipping quoteThis lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Henry Moore O.M., C.H. (British, 1898-1986)Violet Torso on Orange Stripes, from 'Shelter Sketchbook' (Cramer 86) Lithograph printed in colours, 1967, on Japon nacré, signed and numbered 18/180 in pencil, printed by J.E. Wolfensberger, Zurich, co-published by Marlborough Fine Art Ltd., London, and Rembrandt Verlag GmbH, Berlin, the full sheet, 370 x 310mm (14 1/2 x 12 1/4in)(SH)(unframed)Footnotes:Click for an instant shipping quoteThis lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Henry Moore O.M., C.H. (British, 1898-1986)Two Seated Women, from 'Shelter Sketchbook' (Cramer 85) Lithograph printed in colours, 1966, on Japon nacré, signed and numbered 179/180 in pencil, printed by J.E. Wolfensberger, Zurich, co-published by Marlborough Fine Art Ltd., London, and Rembrandt Verlag GmbH, Berlin, the full sheet, 370 x 310mm (14 1/2 x 12 1/4in)(SH)(unframed)Footnotes:Click for an instant shipping quoteThis lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Manner of Rembrandt/Portrait of a Man/wearing a feathered cap/oil on panel, 34cm x 26cm/see illustration

17th century School oil on canvas - portrait of a lady, head and shoulders, 53cm x 42cm, unframedCondition report: Fairly untouched as found condition. It has been re-lined, most likely in the 19th century. There are areas of paint loss, particularly around the edges and also some denting to where it has been stored badly. Some cracking and slight lifting of paint to the right side of the picture.Provenance: from a local client who has entered a number of interesting items in the sale but nothing further known.NB: This appears to be a copy after Rembrandt of Agatha Bas.

Rembrandt etching - two male nudes, a woman and baby in the background, 17.5cm x 13cm (trimmed).

Öl auf Leinwand, ¨Familienbildnis (der Künstler mit Frau Saskia und den Kindern)¨, verso bezeichnet ¨Rembrandt 1607-69, Familienbildnis, cop. Königsdorf 1923¨, ca. 127x168cm, gerahmt (149x189cm), stark craqueliert, patiniert, Leinwand wellig, 1 Reparaturstelle unten links, Rahmen mehrfach bestoßen

After Rembrandt handprinted by Abe Boer "Beggars Receiving Alms at the door of a house together with King Kuka (1946-2004) Watercolour on embossed paper, two unframed oils on board and an unframed linocut with indistinct signature.

After Rembrandt van Rijn (1606-1669) Dutch ''The Strolling Muscians'' Etching, 13.5cm by 11cm

After Albert-Ernest Carrier-Belleuse (1824-1887): A Silvered Bronze Bust of Rembrandt, on a circular socle and stepped onyx base, signed A CARRIER, 29cm high. Some surface wear and scratching. Agate base with flat chip to upper rim.