MASTER IB (active 1523-1530) A Collection of eleven engravings Religious, mythological and ornamental designs, including three from The Seven Planets: Saturn, Mercury, Sol, 1528, Charity, from Seven Christian Virtues, 1525, Dagger sheath with warrior, 1528, Bagpipe player, Marcus Curtius, 1529; together with two engravings by Jacob Binck: Ornamental panel with a soldier, Virgin with a sceptre after Durer, circa 1520-60, and two by Allaert Claesz: St Mary Magdalene holding a chalice, The Assumption of the Magdalene, circa 1520-26, on laid paper, good to later impressions, trimmed to the image or with thread margins, generally in good condition Plate 96 x 68mm. (3 3/4 x 2 7/8in.)(and smaller)

Georg Pencz (1500-1550) A Collection of twenty-eight engravings Religious and mythological subjects, including two from the Story of Virgil: Virgil suspended in a basket and The Courtesan punished, 1541, Aristotle and Phyllis, 1545, Parable of the Sower, 1534, Virginia killed by her father, 1546, three from Fables: Tamiris with the head of Cyrus, Paris and Oenone, Procris and Cephalus, 1539, six from Stories of Roman History, 1546, including Porsenna hears of Cloelia's escape, and Death of Lucretia, two from The Liberal Arts: Grammatica and Astrologia circa 1541, five from the series The Vices, circa 1541, on laid paper, good to very good impressions, some later impressions, mostly trimmed to the platemark or with thread margins, in various conditions Plate 120 x 78mm. (4 3/4 x 3in.)(and smaller)

Rembrandt Harmensz van Rijn (1606-1669) Joseph telling his Dreams Etching, 1638, on laid paper, a good impression of New Hollstein's third state (of six), with small margins, generally in good condition, framedPlate 110 x 83mm. (4 3/8 x 3 1/4in.); Sheet 118 x 89mm. (5 x 3 1/2in.)

Rembrandt Harmensz van Rijn (1606-1669) Chris at Emmaus: The Smaller Plate Etching and drypoint, 1634, on laid paper, a good impression of New Hollstein's only state, with narrow to thread margins, with a repaired tear at the upper right edge, a central horizontal crease and a skilfully repaired tear at the lower right image, other surface defectsPlate 102 x 73mm. (4 1/8 x 2 7/8in.); Sheet 107 x 75mm. (4 1/4 x 2 7/8in.)

Rembrandt Harmensz van Rijn (1606-1669) Self-Portrait Etching at a Window Etching and drypoint, 1648, on laid paper, New Hollstein's sixth state (of nine), with narrow margins, a small paper loss at the upper left corner; together with Faust in his study (B.270; NH.270), etching, drypoint and engraving, circa 1652, on wove paper, a later impression of New Hollstein's sixth state (of seven), trimmed to the plate, generally in good condition Plate 160 x 130mm. (6 1/4 x 5 1/8in.); Sheet 167 x 134mm. (6 5/8 x 5 1/4in.)

Rembrandt Harmensz van Rijn (1606-1669) Cornelis Claesz Anslo, Preacher Etching with drypoint, 1641, on Japan laid paper, a good impression of New Hollstein's fourth state (of five), trimmed inside the platemark, laid down onto a support sheet, with pale scattered foxmarks Sheet 182 x 156mm. (7 1/4 x 6 1/8in.)

Rembrandt Harmensz van Rijn (1606-1669) The Star of the Kings: A Night Piece Etching with touches of drypoint, circa 1652, on laid paper, New Hollstein's third state (of four), with narrow margins; together with The Tribute Money (B.68; NH.138), etching with touches of drypoint, circa 1634, on wove paper, New Hollstein's final fourth state, with thread margins; and The Agony in the Garden (B.75; NH.269), etching and drypoint, 1657, on wove paper, New Hollstein's third, final state, trimmed to the platemark, generally in good conditionPlate 94 x 143mm. (3 5/8 x 5 5/8in.)

Rembrandt Harmensz van Rijn (1606-1669) The Raising of Lazarus: The Larger Plate Etching and engraving, circa 1632, on wove paper, a good impression of New Hollstein's eighth state (of nine), with margins, pale foxmarks in the margins, otherwise generally in good conditionPlate 366 x 258mm. (14 3/8 x 10 1/8in.); Sheet 391 x 270mm. (15 3/8 x 10 5/8in.)

Giovanni Battista Piranesi (1720-1778) Prisoners on a projecting platform, from Carceri d'Invenzione Etching with engraving and open-bite or sulphur tinting, circa 1749, on laid paper, with watermark Fleur-de-lys in a single circle (Robison 5), a fine, early impression of Robison's first state (of six), from the First Edition, probably first or second issue, before the ink dabbing under the platform usually found on the third issue, printed with detail and selectively wiped plate tone, particularly in the shadowed areas of the figures and under the platform, with the central vertical fold, wide margins, generally in very good condition, framedPlate 410 x 543mm. (16 1/8 x 21 3/8); Sheet 513 x 705mm. (20 1/8 x 27 3/4in.)

Henri de Toulouse-Lautrec (1864-1901) La Valse des Lapins Lithograph, 1895, on Japan paper, signed in pencil, further inscribed with the publisher's name 'A. Bosc' in pencil, with the artist's red monogram, an unrecorded proof aside from the editions of 1895 and 1901 (Wittrock only cites two known proofs on Japan), with margins, with the central fold (as issued), with pale mount and time staining, otherwise in overall good condition Image 315 x 235 mm. (12 3/8 x 9 1/4in.); Sheet 448 x 308mm. (17 5/8 x 12 1/8in.)

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