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Auction Description for Swann: OLD MASTER THROUGH MODERN PRINTS

OLD MASTER THROUGH MODERN PRINTS (544 Lots)

by Swann Auction Galleries


544 lots with images

03 November 2016

Live Auction

New York, NY, USA

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MARTIN SCHONGAUER St. Peter.

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Description: MARTIN SCHONGAUER St. Peter. Engraving, 1481. 89x44 mm; 3 1/2x1 3/4 inches. Ex-collection J.E. Wetterauer (Lugt 3870, verso). With thread margins or trimmed on the plate mark. A superb, dark impression of this extremely scarce, early engraving with all the details distinct and with strong contrasts. We have found only 6 other impressions at auction in the past 30 years. Bartsch 34; Lehrs 41.

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MASTER AG (ALBRECHT GLOCKENDON) (after Schongauer) The Second Wise Virgin

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Description: MASTER AG (ALBRECHT GLOCKENDON) (after Schongauer) The Second Wise Virgin. Engraving, circa 1480-90. 116x78 mm; 4 5/8x3 1/8 inches. Ex-collection Albert van Loock (Lugt 3751, verso). A superb, richly-inked and early impression of this very scarce engraving, with strong contrasts and no sign of wear, consistent with the earliest impressions. The British Museum, London, impression of this subject illustrated in The Illustrated Bartsch is weak and, according to The Illustrated Bartsch Commentary, "No impression is of the first quality." We have not found another impression at auction in the past 30 years. Schongauer's (circa 1445-1491) series of 10 engravings of the Wise and Foolish Virgins (Master AG's engravings are contemporaneous) illustrate the parable in Matthew 25:1-13. According to the story, heaven is likened to the house of a bridegroom. The 5 wise virgins, anticipating that they might have to await the groom, have brought enough oil to keep their lamps burning; they are shown by the artist holding their burning lamps with outstretched arms, facing to the right, with pleasant expressions and with their wedding wreaths on their heads. In contrast, the foolish virgins (see following lot), unprepared for their grooms' delay, have allowed their oil to run out and have had to go off to buy more. On their return, the bridegroom's door was shut to them. They are shown with downcast expressions, their wedding wreaths on the ground, holding exstinguished lamps and facing left. The wise virgins, ready for their grooms, are like the righteous in their preparedness for entry into heaven. Bartsch 19; Lehrs 22.

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MASTER AG (ALBRECHT GLOCKENDON) (after Schongauer) The Fifth Foolish Virgin

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Description: MASTER AG (ALBRECHT GLOCKENDON) (after Schongauer) The Fifth Foolish Virgin. Engraving, circa 1480-90. 117x81 mm; 4 5/8x3 1/4 inches. Ex-collection Albert van Loock (Lugt 3751, verso). A superb, richly-inked and early impression of this very scarce engraving, with strong contrasts and no sign of wear, consistent with the earliest impressions. The four impressions of this subject cited by Lehrs are weak and the Albertina impression illustrated in The Illustrated Bartsch appears weak too. We have not found another impression at auction in the past 30 years. Bartsch 27; Lehrs 30.

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MASTER AG (ALBRECHT GLOCKENDON) (after Schongauer) The Crowning with Thorns

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Description: MASTER AG (ALBRECHT GLOCKENDON) (after Schongauer) The Crowning with Thorns. Engraving, circa 1480-90. 145x106 mm; 5 3/4x4 1/4 inches. First state (of 3). Ex-collection Albert van Loock (Lugt 3751, verso). Trimmed on the plate mark. A very good, richly-inked and early impression of this very scarce engraving, with strong contrasts. Bartsch 8; Lehrs 12.

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MASTER AG (ALBRECHT GLOCKENDON) Christ Carrying the Cross.

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Description: MASTER AG (ALBRECHT GLOCKENDON) Christ Carrying the Cross. Engraving, circa 1490. 145x109 mm; 5 3/4x4 1/4 inches. Ex-collection Friedrich Quiring (Lugt 1041b, verso). A very good impression of this scarce, early engraving. We have found only 3 other impressions at auction in the past 30 years. Lehrs 13.

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URS GRAF Passio Domini nostri Jesu Christi.

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Description: URS GRAF Passio Domini nostri Jesu Christi. Set of 26 woodcuts printed on 24 separate sheets (2 double-sided), circa 1506-08. Each approximately 215x155 mm; 8 1/2x6 1/4 inches, most with thread margins outside the black border lines. Several of the sheets with a small bull''s head watermark. Very good impressions of these early woodcuts, extremely scarce as a complete set. Bartsch 2; Hollstein 4-28.

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CRISTOFANO DI MICHELE MARTINI, IL ROBETTA Adoration of the Magi.

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Description: CRISTOFANO DI MICHELE MARTINI, IL ROBETTA Adoration of the Magi. Engraving, circa 1496-1500. 303x280 mm; 12x11 1/8 inches, thread margins. Anchor in a circle with the initials LM surmounted by a star watermark (Briquet 478-529, which dates to the early 16th century). A brilliant, richly-inked and early impression. According to Levenson, this print is based on Filippino Lippi's painting of the same subject which dates from 1496 and is now in the Uffizi, Florence. Robetta also adopted passages from other contemporaneous prints. The hat above his signature, for instance, is copied from Schongauer's Adoration of the Magi (Lehrs 6), as are the heads of the ox and ass to the viewer's right of the Virgin and Child. Meanwhile, the landscape derives from prints by Dürer and the sky is based on his Virgin and Child with the Monkey (see lot 9, Bartsch 42) and Sea Monster (Bartsch 71). The original copper plate for this engraving is now in the British Museum and many extant impressions were printed during the 18th/19th centuries; early printings such as the current work are exceedingly scarce. Hind 10; Levenson, et al., Early Italian Engravings from the National Gallery of Art, Washington, DC, 1973, p. 296, no. 118.

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ALBRECHT DÜRER St. Jerome in Penitence.

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Description: ALBRECHT DÜRER St. Jerome in Penitence. Engraving, circa 1496-97. 316x226 mm; 12 1/2x9 inches. A very good, dark and well-inked Meder f-g impression, with the vertical scratch at the center right edge, with strong contrasts. Indiscernivle watermark. With thread margins or trimmed on the plate mark. Property of The Philadelphia Museum of Art, Philadelphia, sold to benefit the acquisitions fund. Bartsch 61; Meder 57.

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ALBRECHT DÜRER Virgin and Child with the Monkey.

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Description: ALBRECHT DÜRER Virgin and Child with the Monkey. Engraving, circa 1498. 189x120 mm; 7 1/2x4 3/4 inches, narrow margins. A very good, evenly-printed Meder l impression, with the small dot in the clouds upper center and with strong contrasts. Bartsch 42; Meder 30.

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ALBRECHT DÜRER The Martyrdom of St. Catherine.

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Description: ALBRECHT DÜRER The Martyrdom of St. Catherine. Woodcut, 1498. 395x291 mm; 15 5/8x11 1/2 inches. Trimmed on or just inside the border line. A very good, richly-inked Meder c impression, with strong contrasts and little to no sign of wear. Bartsch 120; Meder 236.

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ALBRECHT DÜRER The Lamentation.

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Description: ALBRECHT DÜRER The Lamentation. Woodcut, circa 1497-1500. 395x286 mm; 15 5/8x11 1/4 inches, narrow margins. A very good, dark and evenly-printed Meder a impression after the 1511 text edition, with strong contrasts. Small coat-of-arms with a diagonal band watermark. Bartsch 13; Meder 122.

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ALBRECHT DÜRER Hercules Conquering the Molionide Twins.

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Description: ALBRECHT DÜRER Hercules Conquering the Molionide Twins. Woodcut, 1496-98. 390x283 mm; 15 3/8x11 1/4 inches, narrow margins. A very good, dark and well-inked Meder III a-b impression with strong contrasts. Bartsch 127; Meder 238.

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ALBRECHT DÜRER Hercules, or the Effects of Jealousy.

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Description: ALBRECHT DÜRER Hercules, or the Effects of Jealousy. Engraving, 1498. 322x222 mm; 12 1/2x8 3/4 inches, thread margins. A superb, dark and evenly-inked Meder 2 a-b impression, with very strong contrasts and no sign of wear. High crown watermark (Meder 29, which he dates from around 1485 to 1520). Ex-collection John, first Earl Spencer (Lugt Lugt 1532, lower left recto). Bartsch 73; Meder 63.

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ALBRECHT DÜRER The Bath House.

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Description: ALBRECHT DÜRER The Bath House. Woodcut, circa 1498. 388x284 mm; 15 3/8x11 1/4 inches, thread margins. A very good, dark, well-inked and evenly-printed printed Meder d impression with strong contrasts and little to no sign of wear. Augsburg chalice watermark (Meder 180, which he dates to the mid-1500s). Bartsch 128; Meder 266.

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ALBRECHT DÜRER The Vision of the Seven Candlesticks.

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Description: ALBRECHT DÜRER The Vision of the Seven Candlesticks. Woodcut, circa 1497. 395x285 mm; 15 1/2x11 5/8 inches. A brilliant, richly-inked, evenly-printed and dark impression from the 1511 Latin text edition, with very strong contrasts and no sign of wear. Trimmed on the borderline, with portions of the border line preserved all around Bartsch 62; Meder 164.

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ALBRECHT DÜRER The Four Avenging Angels.

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Description: ALBRECHT DÜRER The Four Avenging Angels. Woodcut, 1498. 396x287 mm; 15 5/8x11 3/8 inches, thread margins. A brilliant, dark and richly-inked impression from the 1511 Latin text edition, with very strong contrasts and little to no sign of wear. Tower with a crown watermark (Meder 259). From the Apocalypse. Trimmed on the black border line, with the border line preserved on all sides. Bartsch 69; Meder 171.

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ALBRECHT DÜRER The Apocalyptic Woman.

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Description: ALBRECHT DÜRER The Apocalyptic Woman. Woodcut, 1498. 391x280 mm; 15 3/8x11 inches. A superb, dark and evenly-printed impression from the 1511 Latin text edition, with strong contrasts and little to no sign of wear. Trimmed on the outside of the border line, with the border line preserved on all sides. Bartsch 71; Meder 173.

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ALBRECHT DÜRER The Babylonian Whore.

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Description: ALBRECHT DÜRER The Babylonian Whore. Woodcut, 1498. 395x282 mm; 15 1/2x11 1/8 inches, thread margins. A very good, well-inked impression from the 1511 Latin text edition, with strong contrasts. Tower with a crown watermark (Meder 259). From the Apocalypse. Bartsch 73; Meder 177.

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ALBRECHT DÜRER St. George on Foot.

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Description: ALBRECHT DÜRER St. George on Foot. Engraving, circa 1502. 110x69 mm; 4 3/8x2 3/4 inches. A brilliant, early and richly-inked Meder a-b impression with very strong contrasts, all the details distinct and no sign of wear, consistent with the earliest impressions of this subject. Ex-collection Baron Marochetti, according to a pencil inscription verso (see Lugt 392). With thread margins outside the narrow black border line. Bartsch 53; Meder 55.

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ALBRECHT DÜRER St. George on Horseback.

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Description: ALBRECHT DÜRER St. George on Horseback. Engraving, 1508. 109x86 mm; 4 1/4x3 3/8 inches. A brilliant, dark, richly-inked and early Meder a impression of this very scarce engraving, before the diagonal scratch in the background above the head of the dragon, with very strong contrasts and no sign of wear, consistent with the earliest impressions of this subject. Partial bull's head with a flower watermark (Meder 63, which he deates from the 1460s to the 1490s). Ex-collection Julian Marshall (Lugt 1494, verso); James Reiss (Lugt 1522, verso); A. C. de Poggi (Lugt 614, verso); and unidentified collector, initials "T.D." in ink verso (possibly Thomas Dodd, see Lugt 2425 and 680).. With thread margins or trimmed on the plate mark. Bartsch 54; Meder 56.

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ALBRECHT DÜRER St. Eustace.

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Description: ALBRECHT DÜRER St. Eustace. Engraving, circa 1501. 356x262 mm; 14x10 1/4 inches. A good, well-inked and dark Meder h impression with contrasts; with scattered losses and restorations in pen and ink. Single-headed eaglewatermark (Meder 224, which he dates from the first quarter of the 1600s). According to Bartsch and later cataloguers, the Holy Roman Emperor Rudolf II (1552-1612), renowned as a aptron of the arts and for his Kunstkammer (or cabinet of curiosities), owned the original copper plate for this engraving and had it gold-plated, then continued to have impressions printed from it for collectors during the early 1600s. Bartsch 57; Meder 60.

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ALBRECHT DÜRER The Small Horse.

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Description: ALBRECHT DÜRER The Small Horse. Engraving, 1505. 165x109 mm; 6 3/8x4 1/4 inches. A very good, well-inked and dark Meder c impression, with strong contrasts. With thread margins or trimmed on the plate mark. Bartsch 96; Meder 93.

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ALBRECHT DÜRER Coat of Arms with a Lion and a Cock.

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Description: ALBRECHT DÜRER Coat of Arms with a Lion and a Cock. Engraving, circa 1503. 185x120 mm; 7 1/4x4 3/4 inches. A superb, dark, richly-inked Meder b impression with very strong contrasts, with the horizontal scratches lower left distinct and with no sign of wear, consistent with the earliest impressions of this engraving. Small jar watermark (Meder 158, which he dates to around 1525). With narrow to thread margins outside the border line. Dürer's first engraved coat-of-arms; he made one other in addition to several woodcuts like this subject. This arms was likely not intended for a specific family, but rather a creation of pure fantasy by Dürer; the elaborate foliage and additional details allowing him to display his virtuoso engraving skills. Bartsch 100; Meder 97.

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ALBRECHT DÜRER The Fall of Man.

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Description: ALBRECHT DÜRER The Fall of Man. Woodcut, circa 1509-11. 127x98 mm; 5 1/8x4 inches. A very good, well-inked and dark proof impression before the 1511 Latin text edition with strong contrasts. Partial (Bull's head ?) watermark (Meder 70). Bartsch 17; Meder 126.

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ALBRECHT DÜRER The Lamentation.

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Description: ALBRECHT DÜRER The Lamentation. Woodcut, 1509-11. 125x96 mm; 5x3 3/4 inches, small margins. A very good, evenly-printed impressionfrom the 1612 Italian text edition. Bartsch 43; Meder 152.

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ALBRECHT DÜRER The Small Passion.

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Description: ALBRECHT DÜRER The Small Passion. Complete set of 36 woodcuts, 1508-10. Each approximately 127x100 mm; 5x4 inches, small margins. Each very good, dark and evenly-printed impressions after the 1511 Latin text edition, from the 1612 Italian text edition published by Daniel Bissuccio, Venice. Ex-collection Henri Lambert, Versailles; and Paul Schmidt, with their bookplates. Full vellum binding with decorative marble paste downs. Bartsch 17-52; Meder 126-161.

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ALBRECHT DÜRER Ecce Homo.

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Description: ALBRECHT DÜRER Ecce Homo. Engraving, 1512. 113x72 mm; 4 1/2x2 7/8 inches, narrow margins. Ex-collection Marseille Holloway (Lugt 1876, verso). A superb, early and richly-inked Meder b impression, with just a single delciate, horizontal wiping scratch on the white cloak of the figure lower right, with very strong contrasts and little to no sign of wear. Bartsch 10; Meder 10.

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ALBRECHT DÜRER The Lamentation.

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Description: ALBRECHT DÜRER The Lamentation. Engraving, 1507. 118x75 mm; 4 3/4x3 inches. A superb, richly-inked, Meder a-b impression with very strong contrasts and no sign of wear. Ex-collection Albert van Loock (Lugt 3751, verso). Bartsch 14; Meder 14.

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ALBRECHT DÜRER Melencolia I.

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Description: ALBRECHT DÜRER Melencolia I. Engraving, 1514. 243x188 mm; 9 1/2x7 3/8 inches. A superb, dark, evenly and well-inked Meder II b-c impression, before the scratch on the sphere lower left and with the number "9" corrected in the third row of the number square upper right, with one very delicate horizontal scratch on the upper portion of the left thigh, with strong contrasts and little to no sign of wear. Trimmed on the plate mark with narrow margins outside the border line. Dürer''s Melencolia I, St. Jerome in his Study and Knight, Death and the Devil, all from 1514 and related in size, style and technical complexity, have been considered his master engravings (or "meisterstiche") since their creation nearly 500 years ago. Replete with symbols (some understood and some unknown) and brimming with psychological content, Melencolia I is perhaps the most heavily studied and written about image in the history of art next to Leonardo da Vinci''s Mona Lisa. Melencolia I has been described as representing the contemplative life, and more specifically the melancholic pitfalls of an overly intellectual, creative temperament, with the large seated figure in the engraving possibly an allegory of the artist himself, symbolizing artistic melancholy. Certainly an event that shaped Dürer''s life and his outlook during this period was the illness and ultimate death of his mother on May 16, 1514. Whatever part this played in his creation of Melencolia I, it is clear from his diary entries and a moving charcoal portrait of his mother from 1514 (now in the Kupferstichkabinett, Staatliche Museen, Berlin), in which he detailed her illness, that her death weighed heavily on his mind leading up to and during the creation of this engraving. While modern scholars often group Dürer''s three master engravings from 1514 together, suggesting they were conceived as a set by the artist and comercially offered as such, this was evidently not the artist''s intent (though the Roman numeral "I" in the title of the current work also suggests Dürer had a series in mind). He often sold impressions of Melencolia I and St. Jerome in his Study together, though this is likely due to their highly recognized importance even during his life and their contemporaneous creation. Bartsch 74; Meder 75.

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ALBRECHT DÜRER Knight, Death and the Devil.

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Description: ALBRECHT DÜRER Knight, Death and the Devil. Engraving, 1513. 246x189 mm; 9 3/4x7 1/2 inches, thread margins. A superb, richly-inked and dark Meder c-d impression with very strong contrasts and great clarity, with little to no sign of wear, consistent with early impressions of this subject. Bartsch 98; Meder 74.

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ALBRECHT DÜRER St. Christopher.

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Description: ALBRECHT DÜRER St. Christopher. Woodcut, 1511. 215x215 mm; 8 1/2x8 1/2 inches, thread margins. A superb, richly-inked Meder a impression, with no sign of wear and with very strong contrasts, consistent with the earliest impressions of this subject. Bear watermark (Meder 89, which he dates to circa 1510-30 and cites for the earliest impressions of this subject). Ex-collection Franz Jozef von Enzenberg (Lugt 845, verso). Bartsch 103; Meder 223.

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ALBRECHT DÜRER St. Christopher facing left.

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Description: ALBRECHT DÜRER St. Christopher facing left. Engraving, 1521. 118x76 mm; 4 1/2x3 inches, thread margins. A superb, dark, richly-inked Meder a impression with strong contrasts and no sign of wear. Bartsch 51; Meder 53.

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ALBRECHT DÜRER The Assumption and Coronation of the Virgin.

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Description: ALBRECHT DÜRER The Assumption and Coronation of the Virgin. Woodcut, 1510. 290x207 mm; 11 1/4x8 1/4 inches. A superb, dark, proof impression before the 1511 Latin text edition, with very strong contrasts. Bull's head watermark (Meder 66). Trimmed on the border line, with portions of the border line preserved on all sides. Bartsch 94; Meder 206.

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ALBRECHT DÜRER The Virgin Surrounded by Many Angels.

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Description: ALBRECHT DÜRER The Virgin Surrounded by Many Angels. Woodcut, 1518. 302x216 mm; 12x8 1/2 inches, thread margins. A superb, dark and richly-inked Meder II a impression, with very strong contrasts and with the razor-thin, almost imperceptible break in the left wing of the child-like angel seated with the flower vase lower center, but otherwise with little to no sign of wear. Bartsch 101; Meder 211.

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ALBERCHT DÜRER The Sudarium by One Angel.

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Description: ALBERCHT DÜRER The Sudarium by One Angel. Etching, 1516. 186x135 mm; 6 1/2x5 1/2 inches, thread margins. A superb, dark, richly-inked Meder I c impression, before the rust marks, with the vertical scratches through the angel's wing at left and along the lower right border near the monogram, some of the latter printing with burr-like inking, an early impression with these characteristics. Bantrum notes, "Dürer produced only six etchings, all between circa 1515 and 1518. Early etchers often experienced difficulties in using the iron plates, which rusted quickly, and in controlling the acid for etching the design into the plate. These problems must have frustrated Dürer, who was so accomplished with the engraver's burin, and may have detrred him from experimenting further with the technique," (Bantrum, Albrecht Dürer and his Legacy, Princeton, 2002, p. 199). Bartsch 26; Meder 27.

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ALBRECHT DÜRER Virgin on the Crescent with a Sceptre and a Starry Crown.

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Description: ALBRECHT DÜRER Virgin on the Crescent with a Sceptre and a Starry Crown. Engraving, 1516. 118x74 mm; 4 3/4x3 inches, thread margins. A superb, richly-inked Meder a impression of this very scarce engraving, with strong contrasts, no sign of wear and a trace of drypoint on the Virgin''s neck near the vertical side of the collar. Bartsch 32; Meder 37.

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ALBRECHT DÜRER Ulrich Varnbüler.

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Description: ALBRECHT DÜRER Ulrich Varnbüler. Chiaroscuro woodcut printed in ochre, brown and black on cream laid paper, 1522. 430x325 mm; 17x12 7/8 inches, thread margins. A superb, well-inked Meder IIIa impression with strong colors. Crescent watermark (Meder 258). Ex-collection Cabinet Brentano-Birckenstock, Vienna and Frankfurt (Lugt 345, verso); and Alfred Morrison (1821-1897), London and Fonthill (Lugt 151, verso, this impression cited by Lugt; Morrison''s sale at Sotheby''s, London, July 11-14, 1906, sould for 49 pounds). The original, extremely scarce lifetime impressions were printed in black from the line block. It was only in the early 1600s that there was a resurgence of attention paid to Dürer''s work and the chiaroscuro blocks were created partly to mask wear to the original line block. Both this portait of Varnbüler and Dürer''s famous woodcut The Rhinocerous, 1515, were printed as chiaroscuro woodcuts by the Amsterdam publisher Willem Janssen; his name and address appear below the borderline in the Varnbüler portrait. The drawing for which Dürer based this woodcut is in the collection of the Albertina, Vienna. Around the early 1520s, Dürer completed several portraits with the intent of producing woodcuts, though only two subjects were realized: Ulrich Varnbüler and Emperor Maximilian I. Both woodcuts are extremely scarce; we have found approximately only 11 impressions of each at auction in the past 30 years. Strauss records only 11 chiaroscuro impressions of this woodcut in museum collections, including an example at the Metropolitan Museum of Art, New York. We locate only one impression with chiaroscuro at auction in the past 30 years. Bartsch 155; Meder 256.

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ALBRECHT DÜRER Erasmus of Rotterdam.

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Description: ALBRECHT DÜRER Erasmus of Rotterdam. Engraving, 1526. 251x193 mm; 10x7 1/2 inches, thread margins. A very good, dark Meder g-h impression with strong contrasts. The tablet to Erasmus' left identifies the sitter (upper 3 lines), with the date and artist's monogram (lower 2 lines). The Greek inscription in between reads: "His writings present a better picture of the man than this portrait." Bartsch 107; Meder 105.

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ALBRECHT DÜRER Cardinal Albrecht of Brandenburg.

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Description: ALBRECHT DÜRER Cardinal Albrecht of Brandenburg. Engraving, 1519. 146x96 mm; 5 3/4x3 7/8 inches. A superb, dark and richly-inked Meder I a impression, with the letetr A in the word PRIMAS (fifth line, last word) still showing the corrected prior letter V, and with very strong contrasts and no sign of wear. Bull's head watermark (Meder 79, which he dates from the late 1400s/early 1500s and notes for the earliest impressions of this subject). Bartsch 102; Meder 100.

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ALBRECHT DÜRER Willibald Pirkheimer.

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Description: ALBRECHT DÜRER Willibald Pirkheimer. Engraving, 1524. 181x115 mm; 7 1/4x4 1/2 inches. A very good, evenly-printed Meder I e impression, with good contrasts. With thread margins or trimmed on the plate mark. Bartsch 106; Meder 103.

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JOHANNES WIERICX (after Dürer) Adam and Eve

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Description: JOHANNES WIERICX (after Dürer) Adam and Eve. Engraving, 1566. 245x192 mm; 9 3/4x7 5/8 inches. Trimmed on or just inside the plate mark. A good, evenly-printed and dark impression of this scarce engraving with good contrasts. Mauquoy-Hendrickx 54.

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JOHANNES WIERICX (after Dürer) Melencolia I

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Description: JOHANNES WIERICX (after Dürer) Melencolia I. Engraving, 1602. 240x187 mm; 9 3/8x7 3/8 inches, thread margins. A good, well-inked impression of this scarce engraving, with the artist's engraved signature and date (usually trimmed) in the lower margin. Mauquoy-Hendrickx 1556.

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ALBRECHT DÜRER (after) Knight, Death and the Devil

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Description: ALBRECHT DÜRER (after) Knight, Death and the Devil. Engraving, circa 1600. 240x185 mm; 9 1/2x7 1/4 inches, thread margins. A very good, dark and richly-inked impression with strong contrasts. After the same-titled engraving by Dürer (Bartsch 98, see lot 30).

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LUCAS CRANACH The Crucifixion.

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Description: LUCAS CRANACH The Crucifixion. Woodcut, 1509. 247x170 mm; 9 3/4x6 3/4 inches, thread margins. From the Passion. A very good, early impression of this scarce woodcut. Bartsch 17.

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LUCAS CRANACH The Holy Kinship.

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Description: LUCAS CRANACH The Holy Kinship. Woodcut, circa 1510. 229x328 mm; 9x13 inches. The letter W in a circle watermark. Trimmed on or just inside the border line, with portions of the border line preserved. A good, dark impression of this scarce, early woodcut. Bartsch 5.

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ALBRECHT ALTDORFER Jael and Sisera.

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Description: ALBRECHT ALTDORFER Jael and Sisera. Woodcut, circa 1513. 123x95 mm; 4 7/8x3 3/4 inches. A superb, well-inked, early Winzinger "a" impression, with strong contrasts and no sign of wear. Trimmed on the border line, with the border line preserved on all sides. Bartsch 43; Winzinger 23.

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LUCAS VAN LEYDEN Virgin and Child with Two Angels.

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Description: LUCAS VAN LEYDEN Virgin and Child with Two Angels. Engraving, 1523. 146x103 mm; 5 7/8x4 1/4 inches, thread margins. A good, well-inked impression of this extremely scarce engraving. Bartsch 84; Hollstein 84; Volbehr 77.

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LUCAS VAN LEYDEN Two engravings.

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Description: LUCAS VAN LEYDEN Two engravings. The Fall of Man, 1529. 162x117 mm; 6 3/8x4 5/8 inches, thread margins. First state (of 2) * David's Triumph, circa 1513. 108x85 mm; 4 1/4x3 3/8 inches, thread margins. Ex-collection Kupferstichkabinett, Dresden (Lugt 1647, lower left recto, and Lugt 685 and 1618, verso); and Kunliga Museum, Stockholm (Lugt 1638, verso). A very good impression of this scarce print. We have found only 6 other impressions at auction in the past 30 years. Bartsch 3 and 26.

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LUCAS VAN LEYDEN A Nobleman and a Lady Seated in a Landscape.

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Description: LUCAS VAN LEYDEN A Nobleman and a Lady Seated in a Landscape. Engraving, 1520. 115x76 mm; 4 1/2x3 inches. With thread margins or trimmed to the plate mark. A very good impression of this scarce engraving, with strong contrasts. Bartsch 148; Hollstein 148; Volbehr 143.

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LUCAS VAN LEYDEN The Promenade.

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Description: LUCAS VAN LEYDEN The Promenade. Engraving, 1520. 115x73 mm; 4 1/2x2 7/8 inches. Trimmed on the plate mark, with the narrow black border line preserved all around. A very good impression of this extremely scarce engraving. Bartsch 144; Hollstein 144; Volbehr 142.

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