August Laube

Buch- und Kunstantiquariat

Prints and Drawings IFPDA Print Fair New York 2018

ALBRECHT ALTDORFER (Around 1480 – 1538 Regensburg)

A cleric kneeling before the virgin and the christ child. Woodcut. 16,7:12 cm.  Wm.: Gothic p with flower (Winzinger 6) dated 1500-1525. Winzinger 87 a (of c); B. 49; Geisberg 29; New Hollst. W.51. Mielke, Altdorferkat. Regensburg 1988, Nr. 108.  TIB 49. Prov.: Fürst von Liechtenstein, Vaduz (without stamp).

The Madonna is sitting on a thrown. Her right hand is resting on a book and with her left she is holding the Christ child sitting on a cushion on her lap. He is holding a nail in his hand, the symbol for his future martyrdom. Behind the kneeling cleric there is a ruined court with a pagan figure statue of a god with trident and flaming bowl symbolizing the decay of paganism. The perspective, architectural lines gather not in the middle but towards the right edge similar to his two engravings on the destroyed Synagogues of Regensburg. There is the possibility that this woodcut is related to the pilgrimage of the “beautiful Maria” in Regensburg and the kneeling cleric represents the pilgrimage priest Hubmaier .  

Very fine early impression showing just a very little wear on the suckle, under the Altdorfer Monogram and on the archway above. The print was also used later by Narziss Renner in a miniature in the prayerbook of Matthäus Schwarz in Berlin cod. 78 and in Angelus Fagius Sangrinus, Carminum…Diuos’ q; Libri III. Venice Francesco die Franceschi, 1570 (Text on backside). [99012].


ALBRECHT ALTDORFER (Around 1480 – 1538 Regensburg

St. Christopher carrying the Infant Christ. Woodcut. 1513. Hollst. 56. B. 53. Winzinger 24b. Mielke Altdorferkat. Regensburg 1988, Nr. 76. New Hollst W.56. Geisberg 33. Bartrum, German Renaissance Prints 1995, Nr. 91. TIB 53. 16,8:12,2 cm. Bent low and leaning heavily on his tree trunk the sacred giant collapses under its load allmost before reaching the rescue on the riverbank. Because Altdorfer moved the eye level almost to the bottom edge of the sheet at the same time the plassing the Saint into the vorgraound filling up the entire space in the forground, the composition becomes a unique representation of power and monumentality. Winzinger: «The work must be counted among the most important achievements of the German woodcut». The woodblock is kept in Berlin in the collection Derschau.

Very fine and clear impression. In margin, small hole filled in and one pinhole above the Saint. Borderline traced. [99135].

USD 51‘300.–


HANS BALDUNG GEN. GRIEN (Probably Weyersheim around 1476 – 1545 Strassburg)

Fall of Man. Woodcut with a tone of gray wash. B. 2. Hollst. 2. Geis. 58. Karlsruhe 1959 II, H 2. Washington 1981, 75. Hollst. 2. Mende, Schwäbisch Gmünd, 2000, 73. Wz. Gothic P with the arme, imperial orb. Comp.: Meder 324 ca. 1580. 25,4:9,5 cm.

Coll.: Fürsten von Liechtenstein – Auktion 184, Kornfeld & Klipstein Bern, 24 Juni 1983, Nr. 9.

In his third and last single-leaf woodcut of the Fall of Man, dated 1519, Baldung shifts the focus of his representation 

to the figures of Adam and Eve. The broad and detailed landscapes 

of the earlier prints are suppressed in this depiction in favour of a 

figure-do inated composition of unusually tall and narrow format. The moment captured here also differs from the earlier prints, for by omitting the menacing snake and the gestures of the figures reaching for the fruits, 

Baldung implies a time following the actual incidents of the Temptation and Fall. As in the chiaroscuro woodcut of 1511, Baldung again uses physical proximity of the two figures to refer to the sexual implications of the Fall. [99154].


ERNST BARLACH (Wedel 1870 – 1938 Rostock)

The good Samaritan. Woodcut. 1919. On brownish hand-

made paper. Schult 163. Signed and numbered „2“. 17,4:12,3 cm.

Coll.: On the back written by the hand of Friedrich Schult „Eigenhändiger Abzug Nr. 2, Geschenk des Künstlers an Friedrich Schult“ (printed and numbered by the artist Nr. 2, gift of the artist to Friedrich Schult).

Schult was a friend of Barlach and later his estate executor. In 1957 he also edited Barlach‘s first catalogue raisonné. Barlach created a large and impressive oeuvre and counts among the most important German expressionists.

This impression mentioned in Schult as printers proof, apart from the edition of 100 signed impressions.

The very beautiful light printed proof varies only slightly from the final edition. Very light foxing. [38197].

USD 2600.–

DOMENICO BECCAFUMI (near Siena 1486 – 1551 Siena)

Bell Foundry. Woodcut. Pass. VI, 152, 16. Le Bl. 16. Nagler, p. 355. Landau/Parshall, The Renaissance Print, London, 1994, no. 284. 17,8:12 cm.

Beccafumi worked throughout his life in Siena, except for a short stay in Genoa in 1540 with Andrea Doria and a two-year journey to Rome. Therefore, almost all of his works are now in Siena, works by him are rare in other European museums.

Although Beccafumi already had worked with the medium of woodcut during his two year journey to Rome in 1510, he didn’t actively utilize it until 1530 for the illustration of the treatise “the alchemical properties of metals”, and this series contains 10 prints. These charming, mysterious, even a bit bizarre woodcuts show clearly Beccafumi’s unconventional use of this medium. [42143].

USD 10‘100.–

LOUIS-MARIN BONNET (1736 Paris 1793)

Tête de femme, after Boucher. FBoucher, delin. A Paris, chez Bonnet, rue St. Jacques. No. 144. Engraving and etching in chalkmanner, printed in three colors, red, blue and black. Herold, 111, no. 144. 

Bonnet was born into a family of artists and was trained among others by his brother-in-law Louis LeGrand(1723–1808). Through Le

Grand, Bonnet became a student of Jean-Charles François in 1756, who developed the crayon manner the year before. This technique permitted the artist to reproduce the effects of a crayon drawing. Towards the end of 1757, Bonnet used this technique for the first time with his own invention – to print on blue paper and to use plates of white – this increased considerably the effect of a crayon manner. [365007].

USD 3500.–

LOUIS-MARIN BONNET (1736 Paris1793)

Deuxième tête, au pastel. C. 1767. Color aquatint in pastel manner after François Boucher. 29:22 cm.  Herold 10 I (of IV) ; Inventaire général des gravures Ecole française. Paris 1978 340 I (of III). 

Trimmed outside the seventh borderline. Paper discolored. The print was announced in the Mercure of November 1767. [12997].

USD 5600.–

RODOLPHE BRESDIN (Ingrande 1825 – 1885 Sèvres)

Le Moulin à eau. 1866. Etching on white chine collé on strong Velin. V.G. 119 I (of II). Maxime Préaud, Rodolphe Bresdin, BNP, 2000. no. 80. 14,1:8,2 cm. Below the illustration signed by the artist in brown ink: “Bresdin”.

Coll.: Aukt. Laurin Guillaux-Buffetau Cailleur, 23. April 1990 no. 6. (FFr. 42500); French collection.

This is the extremly rare first state, with the two gaps in the margin on the right. Van Gelder lists only 6 copies of this state. According to Van Gelder, this print was shown for the first time with the title “Petit Moulin” at the annual exhibition of art lovers in 1866 in Bordeaux.

Bresdin created this illustration during his stay in Tulle. [99016].

USD 5600.–

HANS BURGKMAIR THE ELDER (1476 Augsburg 1531)

An angel counselling Theuerdank. Darbey es dieselb eit bestunde/ Biss kam morgen die angesetze stunde/ Wie dem Held Tewrdankkcks ein Ennglisher geist erschin nnd…seiner anndacht pflag Giii. 115. Johann Schönsperger, Nuremberg, 1517. Woodcut. 

Hollst. 427; VD 16; M 1649; Adams P 962; Fairfax Murray 329;

Leave 115 from Melchior Pfintzing’s Theuerdank of Emperor Maximilian I. „Die geuerlicheiten und eins teils | der geschichten des loblihen streyt | paren und hochberumbten helds | und Ritters err Tewrdannckhs||.“The work tells amongst other things the famous allegory of the bridal journey of the Emperor o Mary of Burgundy. The novel was designed and written in verses by the Emperor Maximilian I (1459− 1519) since 1510. The script type was specially created by V. Rockner and mimics a German official script with decorative top and subloops and his considered the second Gothic type by Schönsperger. This print type is unique in the history of bookprinting. [99155].

USD 1700.–

HANS BURGKMAIR THE ELDER / ERHARD RATDOLT (1473 Augsburg 1531) / (1447 Augsburg 1528)

SS. Valentine, Stephan and Maximilian, the Patron Saints of Passau. 1494. Color woodcut . 26,1:16,5 cm.  Wm: Dreiberg with cross. ô B. and Hollst. 262II. Stuttgart Kat. 3. Schottenloher Tafel 51. Falk, Burgkmair, Augsburg 1973, No. 3.

Title woodcut for Missale Pataviense, by E. Ratdolt, Augsburg in 1505. The Patron Saints of Passau was used as the frontispiece cut of the Missal of Passau of 1505 and was one of Burgkmair’s earliest works.

Second state with the coat of arms of Wigelius Fröschl. Burgkmairs woodcut of the Patron Saints was used previously in Ratdolts first and second editions of the Passau Missal in 1494 and 1498, with the coat of arms of the then bishop Christoph von Schachner. For the 1505 edition the block was recut at the bottom to fit in the arms of the new Bishop, Wigelius Fröschl. As with all of Ratdolt’s woodcuts, variant color blocks were used for different impressions. For this copy green, yellow and red in addition to the black line block was used and the remaining colors being supplied by hand. Hans Burgkmair was an apprentice from 1488 to 1490 with Martin Schongauer in Colmar. From 1491, he started his career as an artist with Erhard Radholt in Augsburg, who introduced the young Burgkmair to the art of color printing from several woodblocks. This technique influenced Hans Burgkmair throughout his career, culminating in his masterpiece: Lovers surprised by Death. Discolortions and some stains in the margins and verso. [99001].

USD 28‘500.–

HANS BURGKMAIR THE ELDER / ERHARD RATDOLT (1473 Augsburg 1531) / (1447 Augsburg 1528)


Exlibris with Coat of Arms. [99148].

USD 4000.–

DOMENICO CAMPAGNOLA after (Venice about 1500 – 1564 in Padua)

Landscape with a wandering family.  C. 1535–1540. Woodcut. 35,1:45,5 cm.  

Comp.: Tiezke, Print Collectors Quarterly vol. 26 p. 469, No. 10; Albertina Wien Ital. Renaissance prints, 1966, No. 181. Bartsch XIII, 386, 4. D. Rosand & M. Muraro, Titian and the Venitian Woodcut; Washington 1976. Cat. 28. 

First state of this block (for the second state “CANP” is lacking). See D. Rosand & M. Muraro, Titian and the Venetian Woodcut, Washington 1976, cat.28.  [99013].

USD 15‘000.–

GIOVANNI ANTONIO CANAL (called CANALETTO) (1697 Venedig 1768)

Veduta fantastica di Padova (Imaginary View of Padua). 

Etching. 29,3:43 cm.  Wm.: Three half-moons with the letters NS (Montecuccoli no. 13, to be found in the second contemporary edition). De V. 11 I (Panorama d’une ville gaignée par une rivière); Pallucchini 10; (Vue fantastique de Padoue); Montecuccoli degli Erri, Canaletto incisore, Venezia 2002 No. 11 II; Bromberg 11 II; Kainen, The Etchings by Canaletto, Washington 1967, 10; With the signature in the bottom borderline. 

The etching process suited extremely well to Canaletto’s painterly style. He brought to his etchings a painter’s approach and invented a personal, distinctly individual style. The loosely handled short strokes, varying in direction, intensity and thickness, together with the white highlight of the unworked paper, create the typical silvery tone, and the etchings seem to take on colors. For reasons, unknown to posterity, Canaletto never returned to etching after he published the extraordinary set of thirty-eight prints in 1752. They are among the most attractive etchings ever made and they have placed him among the greatest etchers of all time. [99002].

USD 6700.–

GIOVANNI ANTONIO CANAL (called Canaletto) (1697 Venedig 1768)

Paesaggio con pilastro e rovine classiche (Landscape with Ruined Monuments). Etching. 13,7:21,5 cm.  De V. 28. Montecuccoli degli Erri, Canaletto incisore, Venezia 2002 No. 21 stato unico; Kainen 26; Bromberg 31 C; With the signatur in the bottom borderline. Giovanni Antonio Canal learned to draw and paint architecture in the studio of his father, who was the principal designer of theatrical scenery in Venice. Canal turned to engraving at the height of his career, when his paintings were commissioned by the English nobility and most notably be the collector and Consul of Venice, Joseph Smith, to whom the Series of the Vedute is dedicated and who may well have commissioned the work. [333025].

USD 14‘000.–

MARC CHAGALL (Witebsk 1887 – 1985 Saint-Paul-de-Vence)

Plate from “Bible 1956”. Etching and aquatint. 29:22,7 cm.  [41786-2]

USD 1150.–

MARC CHAGALL (Witebsk 1887 – 1985 Saint-Paul-de-Vence)

Moses throws the plates onto the ground. Etching and aquatint. Around 1956. 29:22,8 cm. Plate from “Bible 1956”. [41786-1]

USD 1150.–

LUCAS CRANACH d. AE (Kronach 1472 – 1553 Weimar)

Johann Forster, Theologian in Wittenberg. Woodcut. Dated 1556. B. 129. Hollst. 30. Cranachcat. Basel, 1974, no. 285. 

18,5:14,7 cm. 

From the second Edition: Dictionarium / Hebraicvm novvm... Basel, Hieronymus Froben 1564. A worm trace in the lower part affecting the text in five lines. [35145].

USD 2500.–


La lecture sous les arbres. Chalk-autograph. 1874. D. 33. Bouret 48. 25,5:18 cm.

Very fine impression of rich contrasts on yellow rough paper (bulle jaune). The edition was 100 copies printed on three different papers. Corot did the draft of this composition at Robaut in Arras in July 1874. “Sans rien perdre de son harmonie, le dessin est devenu aussi large et aussi hardi qu’il est possible.” (J. Laran, in: Vingt Estampes de Corot, 1932.) [37886].

USD 4‘500.–

ALBRECHT DÜRER (1471 Nürnberg 1528)

The Nativity. Woodcut. About 1503. Proof impression before the  text. B. 85; Meder 197 Ia; SMS 175 Ia. Wm.: Bullshead (Meder 62, as cited by Meder for this state). 29,9:21 cm.

The cycle of the «Life of the Virgin» consists of nineteen woodcuts and the title. With the exception of two prints, all blocks were executed after 1503. Two woodcuts and the title were executed in 1510, after the second journey to  Italy. Together with the “Apocalypse” and the “Large Passion”, the “Life of the Virgin” appeared as a book edition in Nuremberg in 1511. The Latin text of the “Life of the Virgin” was composed by the clergyman Chelidonius and printed by Dürer on the reverse of the woodcuts.

Very strong and clear impression of high contrast. Small, unobtrusive tear in the left margin, otherwise in excellent condition. [41882].

USD 16‘300.–

(ALBRECHT DÜRER (1471 Nürnberg 1528)

Four angels stopping the wind. Woodcut. Meder 169. B. 66. Watermark: Flower onTriangle (Meder 127). Impression from the latin editon of 1511. On strong paper.

Coll.: Dr. Konrad Liebmann, Ossnabrück.

The Apocalypse by Dürer is one of the key works of the Renaissance north of the Alps. After Dürer published his fifteen large woodcuts of the Apocalypse in 1498, neither the woodcut as a graphic medium nor the imagery of St. John’ Revelation would ever be regarded as before, as he elevated both compositions and motifs beyond all boundaries set by his antecedents. The enterprise of the Apocalypse was novel in two aspects. First, it was the earliest book designed and published by an artist exclusively as his own undertaking. Dürer signed not only as the artist, by placing his monogram on each print, but also as the publisher in the colophon. Second, the Apocalypse was a new type of illustrated book. [42146]

USD 14’000.–

ALBRECHT DÜRER (1471 Nürnberg 1528)

The Holy Kingship with the Lute-Playing Angels. Woodcut. 1511. M. 216a. B. 97. Hollst. 216.  Watermark: Large Bear(M. 89). 21,2:21,4 cm.

The complicated genealogical network of Saint Anna’s relationship which comprises five generations – popularly set down in the “Legenda Aurea” appeared in numerous different shapes during the 15th and 16th century.The connotation of the triunubiums legend, which wasparticularly often illustrated around 1500, when the cult around Saint Anna reached its peak, encourages the production of single sheet woodcuts of the representations of Saint Anna’s ancestors and descendants. The woodcut shows the intimate circle of the “hayligen geschlechte”.

Joseph and Saint Anna’s three husbands as well as her two late-born daughters are grouped around Saint Anna and Maria. [99150].

USD 12’300.–

ALBRECHT DÜRER (1471 Nürnberg 1528)

The Sudarium held by two Angels. Engraving. 1513. Meder. 26 a/b. B. 25. Schoch, Mende, Scherbaum 68 a/b. 10:13,9 cm. 

According to Christian tradition, Veronica offered Christ a cloth, so he could wipe the sweat from his face, on his path to Golgatha. The sweat and blood made an imprint of the face of the suffering Christ on the cloth. In the beginning of northern graphic art, the cloth with the Holy Face (the so called Vera Icon) was depicted as an isolated object. In 15th century Dutch painting, the image of a standing Veronica with her arms spread out and presenting the Sudarium, was developed. However, in 1513, Albrecht Dürer presented an altogether different image: in front of a dark sky, two angels are hanging in the air, brightly lit from the left. The angels are presenting the Sudarium to the onlooker in silence. Untouched by the cloth‘s folds, Christ‘s face is made to look suggestively and vividly more prominent, thus enforcing the vision of a real presence. Unlike Dürer‘s preliminary work for the print, now in Vienna, the face shows aspects of the artist‘s own features. On the left a trace of an old mounting. Lower marchin a loosend flaw in the Printing [363002].

USD 15‘000.–

ALBRECHT DÜRER (1471 Nürnberg 1528)

Virgin and Child on the Crescent with Diadem. Engraving. 1514. Hollst. 35a. Meder 35a. SMS 72. 11,8:7,6 cm.

Coll.: Unknown Collector‘s mark.

The two Madonnas of the same subject - one of the late 1490’s, the other in 1514 - provide excellent measures of Dürer’s stylistic development. The early Madonna, influenced by Schongauer, has a frail beauty which derives from the late Gothic tradition.This engraving was created in 1514, the period of the famous master prints and there is now an incredible precision to Dürer’s technique. It shares in early impressions with a rich variety in tone from a very silvery quality of the grey tones to darker shades. Very fine, clear and silvery Meder a-impression. Some unobtrusive foxing. [99149].

USD 33‘000.–

ALBRECHT DÜRER (1471 Nürnberg 1528)

The Virgin and Child seated by a Tree. Engraving. 1513. 

Meder 34 a-b; B. 35; SMS. 67a-b (v. e.); Dürer als Erzähler.

Coll; Dr. Otto Schäfer, Schweinfurt 1996, p. 44. 11,7:7,4 cm.

In medieval piety, the Madonna and its cult took up a wide space. For his representations of Mary, Durer was able to draw on a rich stock of images whose origin is found in the Byzantine Eastern Church. By the touching of the heads of mother and child, Durer highlights the intimate and natural relationship between them. Also by eliminating the halos, the relationship to reality is reinforced for the viewer. Mary can be recognized as the queen of heaven only by the coat which is reserved for her and the pearl diadem, which then distinguishes this depiction from an ordinary mother and child representation. Very fine toned impression with tone on white paper. Trimmed on and partly within subject line. Margins added. [99151].

USD 9300.–

ALBRECHT DÜRER (1471 Nürnberg 1528)

Christ on the Mount of Olives. Etching on iron. 1515. 

Bartsch 19. Meder 19a/b. Watermark: Bull‘s Head. 22,7:16 cm. Collections: H.A. Cornill-d‘Orville 1790-1875 (L. 529), Director of Städel in Frankfur.J.A. Boerner 1785-1862 (L. 269).

Having perfected the printing techniques of woodcut and engraving at about 1500 to an outstanding quality, Dürer, for a short time only, engaged in etching on iron. This technique, originally used by smiths on armour and swords, was made usable for printing in Augsburg after 1510. As with the other techniques, Dürer approached the new medium by adopting its inherent qualities first. Etching on iron produces an effect which resembles rather a drawing than the technically related engraving: unlike the burin, the etching needle allows the artist to work more spontaneously. «Christ on the Mount of Olives», characterized by energy of line and dramatic contrast of light and shadow, gives the impression of a quickly executed pen-and-ink drawing, rather than that of a fine, disciplined engraving. On the other hand, the comparetively thick lines resemble the style of overpowering pathos of the Large Woodcut-Passion. [800006]

USD 56’000.–

ALBRECHT DÜRER (1471 Nürnberg 1528)

Joachim and the angel. C. 1504. Woodcut on strong paper. 30:20,9 cm. Woodcut on strong paper. C. 1504. Meder 190 II;  B. 78; Schoch/Mende/Scherbaum 168 II. 30:20,9 cm.

Fine impression of the text edition 1511. With small margins alongside the image line, lower right the Custode Aiij. Verso the latin text beginning: ANNA JOACHIM SVU AVREA...

The cycle of the Life of the Virgin consists of nineteen woodcuts and the title; with the exception of two prints, all blocks were executed after 1503. Two woodcuts and the title were executed in 1510, after Dürers second journey to Italy. Together with the Apocalypse and the Large Passion, the Life of the Virgin appeared as a book edition in Nuremberg in 1511. The latin text for the Life of the Virgin was composed by the clergyman Benedikt  Chelidonius and printed by Dürer on the reverse of the woodcuts. Strong and clear impression. [365009].

USD 8500.–

ALBRECHT DÜRER (1471 Nürnberg 1528)

The Virgin appearing to St. John. 1510–11. Woodcut. 

Meder 163 bII. Coll: Dr. Konrad Liebmann, Ossnabrück. 

The editions of the Apocalypse of 1498 had only the xylographic inscription on the title page. Dürer added this woodcut so the 

title page of the 1511 edition to conform with the other two books. The style of the woodcut with its even parallel hatching to provide a middle tone is characteristic of Durer’s graphic work from 1510 and stands apart stylistically from the other prints in the series executed much earlier. The woodblock is preserved in the Municipal Museum of Bautzen. Trimmed to the Subject affecting the text verso. [99131].

USD 4200.–

JAMES ENSOR (1860 Ostende 1949)

L’Orage. 1889. Etching on Japan. Delteil 70; Taevenier 70 II (von III); Croquez 70. Mira Jacob 82. Signed lower right with pencil: „James Ensor“. 7,5:11,6 cm (Sheet size 13,5:20 cm).

Prov.: Dr. Frédéric Trüssel, (1873 Bern 1965).

Exh.: Galerie Koller, 1974 no. 2943. Very fine impression with fine contrast in perfect condition. [41905].

USD 5000.–

JAMES ENSOR (1860 Ostende 1949)

L’adoration des Bergers. 1888. Dry point and soft ground etching on simili Japan. Delteil 58; Taevernier 58 III (of IV); Crocquez 58; Mira Jacob 69. Signed and dated with pencil lower right: “James Ensor 1888”. Verso with the signature lettering of the artist. 15,7:11,3 cm. (Sheet size: 28,5:19,7 cm).

Prov.: Dr.Frédéric Trüssel, (1873 Bern 1965).

Exh.: Galerie Koller, 1974 Nr. 2932.

Fine impression of this very unusual subject. Large margins. [41904].

USD 6000.–

PAUL GAUGUIN (1884 Paris – 1903 Atuona, Marquesas Islands)

Deux Maoris. C. 1896 −1897. Woodcut printed in black and brown on Japan paper. The woodblock Gauguin used was probably part of a larger woodblock from one of the Noa Noa set. 8:10,6 cm. MKJ 40; Guérin 55. 

Prov.: Private Collection, Germany. Expertise by the French scholar and expert Jean Cailac dating from 17.5.1955.

Mongan/Kornfeld/Joachim lists only 4 impressions of this subject; This impression is not listed which makes it a 5th impression and an extraordinary discovery. As the sales records show, none of the four related prints have been on the market for more than thirty years, which adds to the rarity of this print. The delicate paper is reinforced with a thin oriental paper to prevent the cracks, caused by the strong ink, to open. [365001].


GIOVANNI GIACOMETTI (Stampa 1868 – 1933 Glion)

La Lettrice. (The reader). C. 1916 – 1918. Woodcut printed in black on heavy japan paper. 24,6:30 cm.  Lower right signed by the artist. “Giov ni Giacometti”. Staufer 39 II. 

Handprinted by the artist. Light foxing in the margins. Right middle a surface pressure showing as a hair line. [99022].

USD 6600.–

HENDRICK GOLTZIUS (Muhlbrecht 1558 – 1617 Haarlem)

Landscape with a Farmhouse. Chiaroscuro woodcut from three blocks, the line block is printed in black, one in light green tones, and one in olive green tones. C. 1597 – 1600. Wm.: Caduceus (pole with a snake).

Lit.: Bartsch 244; Hirschmann 380II/2; Strauss 411 II (v.II); Hollst. 380 I (v.II); Bialler Goltzius Chiaro. 51 II; New Hollst. 309 II; Leeflang/Luijten Hendrick Goldtzius, Exhibitioncatalogue, Amsterdam 2003, 70.5.

Coll.: Colnagi no. C40277; W. P. Babcock, Boston (1826 – 1899) Lugt 207. Bequeathed to the Museum of Fine Arts, Boston in 1900 (Lugt 282, with their deaccession stamp).

Of Goltzius’s four landscapes, the “Landscape with Farmhouse” is described as the most typical setting one might have actually seen in the Netherlands. The thatched-roof farmhouse was common in the late sixteenth century, here the house is set within a flat landscape, and there is a city profiled on the right horizon. The everyday, non-idealized quality of the setting is emphasized by the dog defecating in the foreground and the stork nesting on the chimney of the house (this was considered a sign of good luck in seventeenth-century Holland.) 

Very beautiful second state impression with the bracks? in the right outline. Small margins all around. Small losses in the lower margin and in the upper and lower left corners. Mounted. [99152].

USD  46‘000.–

FRANCISCO JOSÉ DE GOYA Y LUCIENTES (Fuendetodos 1746 – 1828 Bordeaux)

La descañona (She fleeces him). Plate 35. Etching and 

Aquatint.H. 70 III. 21,5:15 cm. 

First Edition of Goya‘s “Caprichos”, 1799. [333017].

USD 4300.–

FRANCISCO JOSÉ DE GOYA Y LUCIENTES (Fuendetodos 1746 – 1828 Bordeaux)

 “Si Resucitarà?” (Will she rise again). Plate 80. Etching and aquat. H. 200III First Ed. 17,5:22 cm.

From the desaster of war, published by the Academia de las Bellas Artes de San Fernando, Madrid, 1863. [99047].

USD 1500.–

FRANCISCO JOSÉ DE GOYA Y LUCIENTES (Fuendetodos 1746 – 1828 Bordeaux)

“Aguarda que te unten” (Wait till you’ve been anointed.)Plate 67. 21,5 x 15 cm. Etching and aquatint. H. 102 III First Edition. Impression with strong contrasts.

First Edition of Goya‘s “Caprichos”, 1799. [333019].

USD 4700.–

FRANCISCO JOSÉ DE GOYA Y LUCIENTES (Fuendetodos 1746 – 1828 Bordeaux)

“Algun partido saca” (He gets something out of it). Plate 40. Etching and aquat. H. 160 III 

First Ed. Desastres. 17,5:21,5 cm. 

From the desaster of war, published by the Academia de las Bellas Artes de San Fernando, Madrid, 1863. [333074].

USD 1100.–

ERICH HECKEL (1883 Döbeln/Sachsen – 1970 Radolfzell/Bodensee)

Ziegelei (Brick manufacture). 1957. Color woodcut. 42:26,5 cm.  Sign. and dat. “Heckel 57”. Dube H424. 

Prov.: Privat collection Switzerland.

After the destruction of his Berlin studio apartment, Erich Heckel moved in 1944 to Höri at the Bodensee . In this period the landscape of Lake Constance becomes important for Heckel. From 1955 he lived in retirement in Hemmenhofen and dies in 1970 in Radolfzell. [41649].


HANS HOLBEIN D. J. (Augsburg 1497/98 – 1543 London)

Erasmus of Rotterdam, standing within a renaissance arch, his hand resting on Terminus. Woodcut designed by Hans Holbein and cut by Veit Specklin. Wm. Double headedeagle. Inscription above the figure: ER.ROT.; on the Herme TERMINVS; in the cartouche to the feet of the sitter: Pallas Apellaeam nuper mirata tabellam/Hanc ait, aeternum Bibliotheca colat. Daedaleam monstrat Musis HOLBEINNIUS artem, et summi Ingenii Magnus ERASMUS opes.

Woltmann 2, No. 206b.; Hollstein XIV, no. 9. Christian Müller, Die Druckgraphik im Kupferstichkabinett Basel, 1997, no. 7; Cat. Oberrheinische Buchillustr., 1984 no. 456;Giulia Bartrum, German Renaissance Prints, 1490–1550, London, 1995 no. 238.

Desiderius Erasmus (1467–1536) the great humanist and scholar, was Holbein’s most significant patron during the artist’s early years in Basel. Holbein painted a number of portraits of Erasmus in the early 1520s, but this print was produced after Erasmus’ death in 1536, perhaps as a post-humous tribute. 

Holbein returned briefly to Basel in 1538, when he may have been commissioned to produce the design, which was probably cut by Veit Specklin. It was printed in 1540 for the first time and was reused up to the 19th century in numerous editions (Müller 7, p. 238 and 10, p. 239). The text was printed with moveable types in order to exchange the text easily.

The block is preserved in the Kupferstichkabinett, Basel. Late 16th century impression with the four lines in the cartouche. Very good and clear printed impression. Middlefold and a small restored loss in the right column. [99153].

USD 8000.–


La Crainte Enfantin. – La Confiance Enfantine after Sigmund Freudenberger. Two Etching and lavis-manner engravings printed in yellow, blue, red and black. Le Blanc 56 a. 57. Each approx. 24,2:18 cm.

For his prints in lavis-manner, Janinet used, instead of Bonnet’s roulette, a scraper modified for his purposes. With this tool, he was able to work on the surface of the plate in such a precise way that the intense accumulation of fine points was just large enough to hold a fine layer of paint. [22766]

USD 4500.–

MAX KLINGER (Leipzig 1857 – 1920 Grossjena bei Naumburg)

Venus shows Amor Psyche. Plate 4 from the Series Amor and Psyche. 1880. Etching on chine appliqué on large white velin paper. 25,5:17,3 cm. Sheetsize 63:44 cm. Singer 67 I (of IV). Proof impression before any etched rework, aquatint and before the double outline. 

Prov.: Otto Dix, Dresden.

On behalf of the Munich publisher Theodor Stroefer, Max Klinger created the illustrations to Amor and Psyche. This major and famous novella from the work The golden ass written by the roman poet Lucius Apuleius was published by Theodor Stroefer as a superb luxury edition with a German translation by Reinhold Jachmann. The 23-year-old Klinger designed the borders, vignettes and fifteen full-page etchings. Apuleius tells how psyche attracts Venus’ jealousy because of her outstanding beauty so that her people worship her instead of Venus. 

The illustration shows the moment as Venus points out Psyche to Amor. Amor is no longer a small boy, but a handsome divine youth, crouching at the feet of Venus on an antique roof-top, and follows, with his eyes, her outstretched finger. Venus and Amor embody envy and disgrace on the one hand and unconditional love on the other. The postures underline this statement. Venus’ head is gloomily shaded and her body is  retreating. Amor, on the other hand, bends far down, his gaze directed at the invisible ,kings’ daughter, and a smile seems to pass his face. The image is framed by ornamental tendrils and in the foot of the ornament two fish swim towards each other, the symbol of lusty love. Magnificent print before any overwork or the aquatint. On very large paper. (Edge of large paper slightly discolored and in the corners lightly creased. [99017].

USD 3600.–

MAX KLINGER (Leipzig 1857 – 1920 Grossjena bei Naumburg)

Das Zelt, II. Nr. 40. Luftfahrt. 1915. Aquatint on Van Gelder Zonen. 22,5:16,4 cm. Sheetsize: 35,5:25,5 cm. “Druck von Felsing”. Verso annotated. “Max Klinger, Luftfahrt” . Beyer, Max Klilnger Das Graphische Werk 1909 - 1919, 371II. 

Prov.: Otto Dix, Dresden.

The portfolio has 46 prints in an edition of 100 copies printed by Amsler & Ruthardt, Berlin 1916. 

On his last series of Etchings, Opus XIV “Zelt” part I and II, Max Klinger worked almost 5 years, from 1911 to 1916.  Zelt is the final work of Klingers etched series.  In 46 etchings Klinger tells the seemingly fantastic story of a woman’s fate.  Besides the protagonist there appear goddess, a magician, a queen, slavers, bad boys, and a knight. The etchings tell a tale full of obsessive fantasies. Max Klinger describes this history as follows: “… ich will ja auch nur ein Märchen erzählen, und zwar ein richtiggehendes, wo die Köpfe so wenig sicher sitzen, wie die Hemden, mal rauf, mal runter…” (Exhibition, Max Klinger Die Druckgraphischen Folgen, Leipzig). The cycle, full of erotic symbolism, is an important Jugenstil period work and a masterpiece of Klinger’s later period. [99023].

USD 1100.–

MAX KLINGER (Leipzig 1857 – 1920 Grossjena bei Naumburg)

Vision. 1919. Aquatint and drypoint on printer’s paper. 28:15 cm. Sheetsize 39,7:26,3 cm. Verso in pencil annotated. “Max Klinger, Vision, Zustand vor Vollendung der Figur”. 

Coll.: Otto Dix, Dresden. [99045]

USD 2000.–

Jacob Lucius the Elder (German, Siebenburgen ca. 1530 – 1597 Helmstedt)

Adoration of the Shepherds. Woodcut printed from two blocks on two sheets of laid paper (joined). Watermarks: Two different vertical horns. Cutters monogram in the fountain WS. 

Hollstein XXIII.20.8.i; Röttinger 13. First state. Nagler Mon. V Nr. 1904; C. Dodgson, II, 396 no. 1; Strauss II, 635; Strauss-Geisberg, 1974 no. 954-3. 32,7: 51,4 cm.

Jacob Lucius (Lutsch), born in Klausenburg or Kronstadt in 1530, is first mentioned to be working in Kaspar Helth’s workshop and printing studio in Klausenburg. Helth operated his press from 1550 to 1600, and during this period he published exactly 208 books.  He was extremely important to the Hungarian cultural community, because he published the first books in the Hungarian language. James Lucius the Elder, with civic name Lutsch, left the printing shop, of the humanist Helth, in 1556, and resettled in Wittenberg as a draftsman and form cutter.  In the beginning he was employed by Hans Lufft, but soon he was able to open his own printing shop. For his printer’s mark, he chose ILCT, «Iacobus Lucius Coronensis Transsylvanus». During this period, he invented a technique that revolutionized book printing in Germany. He developed a special process that enabled him to cast copies of woodblocks in metal.

In 1564, he became a university printer in Rostock, where he did not stay very long. In 1579, he again became a university printer at the newly founded and very fast growing university in Helmstedt. Here he developed a very successful printing business until he died from the plague in 1597. For the North German region, Jakob Lucius’s work is of great importance, as a result his reputation remains alive as a draftsman of woodcuts and as a form cutter. 

Hollstein lists 68 works by his hand. These sheets were primarily made during his time in Wittenberg. 

Jacob Lucius’s work is also known under the pseudonym, Master of the Adoration of the Shepherds. The identification as Jacob Lucius was first proposed by Röttinger in 1921 (“Beitrag zur Geschichte des sächsischen Holzschnittes, Strassburg 1921, SS. 85-100“).  The monogram on the work “WS” belongs to the unknow block cutter. [625010].

USD 25’000.–

AGOSTINO DEI MUSI gen. Agostino VENEZIANO (Venice 1509 – after 1536)

Hercules wrestling Antaeus in the presence of an old woman, likely Earth, Antaeus‘ mother; ruins in the background. Engraving. 1533 −1536. Bartsch XIV, p. 237, 316 I (v.II). T.I.B. vol. 26, p. 317, 316. (included in single series with Marcantonio and Marco da Ravenna). 24,4:18 cm.

Coll.: Unidentified collector signing and dating 1860 with a black pen; Collector’s mark of Thomas Graf with a red pen (L.1092a), sale C.G. Boerner, Leipzig, 23. Nov. 1934.  [41878]

USD 4000.–

HARMENSZOON VAN RIJN REMBRANDT (Leiden 1606 − 1669 Amsterdam)

The Virgin and Child in the Clouds. Etching and drypoint. 1641. B. R. S. 61; Hind 186 I; New Hollst. 188 II (of II). 16,8:10,6 cm. 

Coll.: Georges Rapilly, Paris; Private Collection, Paris; C. G. Boerner, Rembrandt 2005, p. 4; Shawn Merriman, Colorado 

Lit.: Hinterding/Luijten/Royalton-Kisch, Rembrandt the Printmaker, London, p. 193 no. 43. 

Rembrandt made a false start when he began this print. An upside-down head is visible on Mary’s left knee. Evidently the artist soon realized that the head was poorly positioned and too small. For this print Rembrandt must have had several sources of inspirations, such as Dürer’s Madonna on the Crescent Moon, the title-page for his Life of the Virgin, or Jan van de Velde’s print of the same subject, but the strongest influence was Federico Barocci’s etching Madonna and Child. Rembrandt’s Virgin and Child in the Clouds is clearly a free copy or interpretation of Barocci’s Madonna and Child. Not only is their similarity in size, but also in copying faithfully the composition, in the handling of the light and dark, and in the etching technique – simple crosshatching in the shaded areas. Although the composition is the same, the effect achieved is completely different. While Barocci’s Madonne has a young sweetly doll like face with a child that is a burly infant gazing directly at the viewer, Rembrandts Virgin seems scarcely aware of the child’s presences. She is staring past the viewer into the space. The Christ child is also less robust, a sickly baby that turns away from the viewer, wholly unconscious of his divinity. It is strongly possible that Rembrandt owned an impression of Barocci’s print, as his 1656 inventory lists an album with copper prints by Vanni and others including Barocci, see M. Schapelhouman in Rembrandt the Printmaker, London, p. 193. Rembrandt created The Virgin and Child in the Clouds in 1641. In September of that year Rembrandt’s son Titus, was born to his wife, Saskia. She might have been very ill at the time the print was made, as she was to die the following June 17, before the age of thirty. The subject may have echoed sentiments Rembrandt was feeling at the time, allowing him to turn the composition into an image for personal reflection.

Impression of the newly recognised second state reflecting a fine chiaroscuro. The etching plate was preserved well into the 18th century. The plate was referenced for the last time in 1767 (Peter Haan’s sale catalogue). [333101]

USD 13‘200.–

GIOVANNI BATTISTA TIEPOLO (Venedig 1696 − 1770 Madrid)

La Famiglia del contadino orientale. Etching, c. 1750. 22:14,4 cm.

From: Scherzi (Rizzi 18 ; De Vesme 27 (van Gelder 84). A very fine, early impression of the First State (before the number). Small margins. [333016]

USD 17‘000.–

FELIX VALLOTTON (Lausanne 1865 – 1925 Paris)

A vingt ans. Woodcut. 1894. Signed and numbered in pencil ower right „fVallotton”. Vall.-G 134 b (of d). 18:22,5 cm.

Coll.: Henri M. Petiet (1894 Saint-Prix – Paris 1980) editor and dealer of fine prints and books.

One of only a few impressions on crème paper signed but not numbered. A tiny spot in the white area below the soldier’s feet. [42063].

USD 4500.–

FELIX VALLOTTON (Lausanne 1865 – 1925 Paris)

La Nuit. Woodcut. 1895. Signed and numbered in blue pencil: “fVallotton 12“. Vall.-G. 164 a (v.d). 18:22,2 cm.

One of 60 impression of the first edition. 

In 1882, the 17 year old Vallotton went to the Académie Julian in Paris, to study art under the direction of Jules Joseph Lefebvre and Gustave Boulanger. Amongst his fellow students were Edouard Vuillard and Pierre Bonnard. In his first years in Paris the young artist lived in bitter poverty. At the beginning of 1890 he visited an exhibition on ukiyo-e woodcuts, which were shown at the École des Beaux-Arts. During the 1890s Vallotton executed many woodcuts, which were used as illustrations by the large Parisian publishers, such as «Le Cri de Paris» or the satirical journal «Le Rire». European newspapers also asked him for illustrations. In his woodcuts, Vallotton acquired a new original style closely related to the avant-garde, the post-impressionists, the art nouveau, and especially the ideal of the Nabis. In his woodcuts, Vallotton exclusively worked in black and white. Emphasizing the contours, he outlines deep black against pure white. His contemporaries acknowledged the revolutionary originality of his work. Very fine and fresh impression with the paper in original beige colouring. [99132]

USD 13‘000.–

Adrian van de Velde (1639 Amsterdam

Two Cows under a Tree. Etching. 12,5:15,3 cm. Holl. XXXII, 226, 13. Part of a watermark. [40626].

USD 3000.–


Study of a lying waterdog to the right. Black chalk, éstompe, heightened with white chalk, on grey paper. Inscription falls as “Brun”. Sheet-size: 20,7:28;5 cm.

Prov: Louise Etiennette Agasse, sœur de l‘artiste, Geneva; Madeleine Humbert, Geneva; Elisabeth Senn-Humbert, Geneva; Valentine Rieder-Senn, Geneva; Andrée Rieder-Picot, Geneva; Private collection, Switzerland

The drawing is related to the painting “bay horse with two dogs in the landscape”. Illustrated on the Web: SIKART Inventory No. 47100. In the painting the dog is lying towards the left. [99136].

USD 5000.–


Study of a rider in side view to the right. Circa 1803. Black chalk, heightened in white, on paper prepared with grey ground. 21.8:16.2 cm. 

Prov: Louise Etiennette Agasse, sœur de l‘artiste, Geneva; Madeleine Humbert, Geneva; Elisabeth Senn-Humbert, Geneva; Valentine Rieder-Senn, Geneva; Andrée Rieder-Picot, Geneva; Private collection, Switzerland.

Exhibitions and catalogue: Tate Gallery, London. Jean-Laurent Agasse ou la séduction de L‘Angleterre. 15.2.–2.4.1989, catalogue, p. 246, ill. 99 ; Musée d‘art et d‘histoire, Geneva. Jean-Laurent Agasse ou la séduction de L‘Angleterre. 9.11.1989–22.1.1990, catalogue, p. 246, ill. 99.

Preparatory drawing for the painting “leaving for the hunt”. 1803 also Illustrated in the catalogue: Musée d‘art et d‘histoire, Genf. Jean-Laurent Agasse ou la séduction de L‘Angleterre. 9.11.1989–22.1.1990, catalogue, p. 62, no. 11. The painting is the result of the artist’s stay in May and June of 1803 in Hertfordshire. Daniel Baud-Bovy considers this drawing as a portrait of the artist. [99137].

USD 6000.–

FRANCOIS DIDAY (1802 Geneva 1877)

Two wanderer’s sitting near a shelter. Brush in brown over black chalk. Signed lower left: “F. Diday.” 17,6:27,8 cm.

Provenance: Louise Etiennette Agasse, sœur de l‘artiste, Geneva; Madeleine Humbert, Geneva; Elisabeth Senn-Humbert, Geneva; Valentine Rieder-Senn, Geneva; Andrée Rieder-Picot, Geneva; Private collection, Switzerland. 

François Diday entered the studio of Louis-Théodore Constantin-Hiertzeler at the age of eleven. Later he went to a drawing school in Geneva and explored the closer surroundings of this town with his friend Adrien Rival. Charles-Joseph Auriol introduced Diday to collectors. In 1823 he worked in Paris in the studio of Antoine-Jean Gros and in 1824−25 a scholarship allowed him a journey to Italy. Back in Geneva he often travelled to the Swiss mountains and the Savoy with his close friend Wolfgang-Adam Töpffer. Diday soon became popular. Numerous pupils, among them Alexandre Calame, as well as customers from different countries frequented his studio.

Despite of being almost exclusively connected with poetical images of the dramatic mountain scenery, Diday also painted different views, like coastal or Italian landscapes, simple underbrush and the views of the Lake of Geneva. [99146].

USD 1400.–

CARL LUDWIG HACKERT (Prenzlau 1740 – 1796 Morges)

Waterfall of the river Forestay above Rivaz near Cully. 

Gouach. 47:34,5 cm.  Signed and datet.: “Pres de Culli Carl Hackert fec 1790”. 

Prov.: Bought with Fred Stasser, Galerie Grand-Rue, Geneva. 1978; Private Collection Switzerland.

Carl Ludwig Hackert was the second son of the German portait and animal painter Philippe Hackert (b. 1768). He travelled in France and then settled in Rome in 1772 with his older brother, who encouraged him to take up landscape painting in oil and gouache. In 1778 Carl Ludwig settled in Geneva and Lausanne, producing beautiful landscape gouaches and in collaboration with the Link, a series of colored engravings of views of Switzerland and Savoy. [40060].

USD 6100.–


Shepherd with two ox at the fountain. Black chalk and white pen. Sheet-size: 22:30 cm. 

Provenance: Louise Etiennette Agasse, sœur de l‘artiste, Geneva ; Madeleine Humbert, Geneva; Elisabeth Senn-Humbert, Geneva; Valentine Rieder-Senn, Geneva; Andrée Rieder-Picot, Geneva; Private collection, Switzerland. [99143].

USD 2000.–

WOLFGANG ADAM TÖPPFER (Genève 1766 – 1847 Morillon)

Two washerwomen under a rock. Sepia over pencil. 40,4:53,7 cm. 

Wolfgang Adam Töpffer contributed considerably to the development of genre painting in Switzerland. During the pre-revolutionary unrest in France, which eventually led to the Revolution and the Napoleonic Wars, Töpffer, while in Geneva, discovered the peaceful side of country life. Drawing was his passion; he was one of those artists who captured the world in drawing. His watercolors oscillate between the idealic and stately compositions of the 18th century, and the realistic depictions of nature of the 19th century, and have an engaging charm. [99126].

USD 4600.–

JOHANN JAKOB ULRICH (Andelfingen 1798-1877 Zürich)

Study of the see and clouds. Watercolor and body color on strong paper.30,5:48,7 cm.

Following his father’s wish, Ulrich accomplished an apprenticeship in business in Paris. In 1822, however, he decided to become a painter and with the support of the Parisian patron Paturle, whom he had worked for, he was able to take up an apprenticeship with Jean-Victor Bertin. There, he met Jean-Baptiste Corot. In 1825, he set up a workshop in Paris, together with the animal painter Raymond Brascassat (1804-1867). On his frequent travels he went among other places to Italy, where he discovered the southern sunlight. 1840, he moved to Zurich, where he opened a workshop but continued to work outdoors. In 1855, he was made professor of the ETH Zurich. For many years he undertook summer journeys through Switzerland. His  magnificent album of steel engravings “Die Schweiz in Bildern“ was published the following year. (Zurich, the author).On the border some foxing [99133].

USD 3000.–

FELIX VALLOTTON (Lausanne 1865 – 1925 Paris)

Nue debout les mains derrière le dos. Sheetsize 21:13,3 cm.

In 1882 the 17 year old Vallotton went to Paris to attend the Académie Julian where he studied under Jules Joseph Lefebvre and Gustave Boulanger. Among his fellow students were Edouard Vuillard and Pierre Bonnard. For his first years in Paris he lived in utter poverty. Vallotton’s drawings hold an important place in the artist’s work, partly because of their number, but mainly due to their variety, since Vallotton experimented with various techniques, which paper as a medium permitted.Vallotton considered his drawings as very personal achievements of which he was very proud. He used to say about himself: “My paintings may be bad but I know my drawings are good”. [42079].

USD 3800.–

LUDWIG VOGEL (1788 Zurich 1879)

San Isidoro in Rom. 1811. Annotated, monogrammed and dated: “Aus meiner Klosterzelle in St. Isidoro in Rom gegen den Monte Sokate”. On the original blue paper mount. The board with the red Ludwig Vogel inventory number 215 lower left and additional number in black pen: No. 624 Watercolor over Pencil. 18,5:26.7 cm.

Coll: From the estate oft he artist.

Following first the tradition of his Family Ludwig Vogel learned the confectionery profession, unhappy about this profession he then also learned painting and was sent by his father to the Academy of Arts in Vienna in 1808.

Among Ludwig’s classmates formed a small circle of friends, which included, among others, Franz Pforr and Friedrich Overbeck, which led in 1809 to the founding of the Lukasbundes.

In May 1810 the friends moved to Rome, where they settled in the former monastery of San Isidoro. In respond to the stagnant academic classicism, they stood up for a renewal of the art on a religious base and called themselves the Nazarenes which became a stylistic term in the late 19th century. In 1813 Vogel returned to Zurich via Orvieto, Florence and Milan. [99147].