1 Albrecht Dürer (German, 1471-1528)
The Martyrdom of St. Catherine, c1497-1498/later printing. Woodcut,
monogrammed in block lower centre, 39.5 x 28.2cm. Minor wear
to edges.
Printed
in the 18th century. Ref: Bartsch #120, Knapp #145.
$2,900
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2 Albrecht Dürer (German, 1471-1528)
Draftsman Drawing
A Lute, 1525/1605. Woodcut, dated and monogrammed in block upper
centre, 12.8 x 17.9cm.
Illustration
from the 1605 edition of Dürer's 1525 publication in four
volumes, Unterweysung der Messung (Instructionson Measurement,
also known as The Artist's Manual). Ref: Bartsch #147,
Knappe #371, Kurth #338. Provenance: private collection, purchased
from Colnaghi's, London, in 1971.
Dürer, who was not formally educated, became an intellectual
through friendships and correspondence with Erasmus and other
scholars. He was particularly interested in the relationship
between mathematics and art. His theoretical work on measurement
published at Nuremberg in 1525, was the first book for adults
on mathematics in German. Galileo was among the scholars who
cited this work.
$4,400
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3 Rembrandt van
Rijn (Dutch, 1606-1669)
The Golf Player, 1654/later printing. Etching, signed and dated
in plate lower left, 9.5 x 14.4cm. Framed.
Ref:
Bartsch #125, Boon p249, Hind #272. Provenance: private collection,
purchased from Barker Gallery, Hove, UK, in 1945.
$6,900
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4 Attrib. Carlo
Maratta (Italian, 1625-1713)
[Religious Study], c1680s. Red chalk drawing, collector's IMG
stamp, numbered "31" and artist's name (twice) in pencil
and ink in various hands verso, 58.9 x 33.9cm. Small perforation
to centre and stain to upper centre, foxing overall, three old
horizontal folds, slight creases, tears and paper loss to edges,
old paper tape remnants verso.
Drawn
on laid paper with watermark verso. "Carlo Maratta studied
nearly round-the-clock as a youth in a life 'far removed from
every form of juvenile levity,' according to his early biographer.
Maratta arrived in Rome at age twelve and stayed to become one
of the city's leading painters of the late 1600s. From the 1650
success of a large altarpiece, Maratta's career was a string
of triumphs. By the century's end, his late Baroque classicism
was not only Rome's predominant style but the accepted court
style of Louis XIV's France. Although he primarily painted altarpieces,
Maratta also painted portraits and major fresco cycles and designed
large-scale sculptures. Maratta returned to the classical principles
of composing with a few solid, rounded figures and an even, light
palette that focused attention on the figure's attitude and gestures.
Amidst much High Baroque exuberance, Maratta's contemporaries
found his simply draped figures' noble bearing and moral conviction
refreshing. At eighty, he was still painting, teaching, and serving
as president of the Accademia di San Luca." (Extracted from
Getty Museum website)
$5,500
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5 Giovanni Battista
Piranesi (Italian, 1720-1778)
Veduta Dell Arco Di Tito (View Of The Arch Of Titus), 1760/later
printing. Engraving, detailed caption with key, titled and signed
"Gio. Batta. Piranesi Architetto diseg. e incise" in
plate below image, 40.4 x 62.1cm. Minor foxing and wear to margins.
Printed
in the late 18th or early 19th century. Strong, clear impression.
Illustrated in Hind, Giovanni Battista Piranesi, 1922, plate
55.
$2,200
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6 Giovanni Battista
Piranesi (Italian, 1720-1778)
Veduta Interna Della Basilica Di S. Maria Maggiore (Internal
View Of The Basilica Of Saint Maria Maggiore), 1768/later printing.
Engraving, numbered, titled and signed "Caval. Piranesi
inc." in image lower left to right, Regia Calcografia di
Roma blind stamp in lower margin, 42.9 x 67.7cm. Stains and repaired
slight tears to margins.
Printed
during the 19th century. From Piranesi's Complete Views of
Rome. Ref: Hind, Giovanni Battista Piranesi, 1922, plate
87.
$2,200
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7 Attrib.
Benjamin West (Amer., 1738-1820)
[Three Head Studies], c1780s. Pencil drawing with red chalk,
23.3 x 41.4cm (paper). Paper loss to centre and upper centre,
stains to edges, creases overall. Laid down on acid free tissue.
American-born
to a Quaker family, West eventually settled in London. Appointed
historical painter by King George III in 1772, West helped to
found the Royal Academy, becoming president in 1792.
8. After George Morland (British, 1763-1804)
$3,300
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8 Girl And Pigs c1797.
Mezzotint, artist, title and text in plate below image, 37.9
x 45.5cm. Old crease to centre of image, trimmed into lower plate
mark.
Text
reads "Engraved by W. Ward. London. Published Dec. 3 [1797]
by Collins & Morgan, Bolsover Street, Cavendish Square. Moore
& Kirlon, Great Portland Street." George Morland was
one of the first artists to avoid patronage and paint purely
for his own pleasure.
$1,100
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9 After George
Morland (British, 1763-1804)
The Fern Gatherers, 1799. Hand-coloured mezzotint, artist, title
and text with date in plate below image, 48 x 60cm. Repaired
tear to upper centre of image, some surface scratches, repaired
tears and missing portions to margins.
Text
reads "Painted by G. Morland. London. Published May 1, 1799
by I.R. Smith, King St, Covent Garden. Engraved by I.R. Smith,
Mezzotinto [sic]. Engraver to HRH The Prince of Wales."
$1,650
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10 Francisco Goya
y Lucientes (Spanish,1746-1828)
Allá Vá Eso (There It Goes), 1799/later printing.
Etching, plate number "66" and titled in plate above
and below image, annotated "Goya" in pencil in an unknown
hand in lower margin, 18.8 x 12.4cm. Minor soiling overall, slight
stain and paper remnant to margins.
From
the fifth edition of the twelve editions of Los Caprichos, published
by Calcografia for Real Academia between 1881 and 1886. The 80
etchings of Los Caprichos were the first collection Goya produced
for sale as a single set. In 1803, fearful of the Spanish Inquisition,
Goya relinquished the plates to Charles IV, in return for a pension
for his son. The plates remain with the Calcografia, issued in
the ensuing years by that institution. Ref: Harris #101.
$990
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