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20 janvier 2021

Christie's announces online-only auction of Old Master prints

2021_CKS_20187_0016_000(albrecht_durer_the_crucifixion105353)

Lot 16. Albrecht Dürer (1471-1528), The Crucifixion, woodcut, circa1498, on laid paper, watermark Bull's Head with Caduceus (Meder 81), a fine, richly black Meder a proof impression, before the text edition of 1511, printing very evenly and strongly. Sheet 392 x 281 mm. Estimate: £25,000-35,000. © Christie's Images Ltd 2021.

LONDON.- Christie’s Old Master Prints online-only auction, open for bidding from 19 to 28 January 2021, offers a selection of fine and rare prints that span five centuries of European printmaking. The works presented range from a hand-coloured woodcut from the mid- to late-15th century by an anonymous German printmaker to an early-19th century French lithograph with watercolour by Carle Vernet. Albrecht Dürer is represented, in both woodcut and engraving, including a proof-impression of the Crucifixion from the Large Passion (circa 1498, estimate: £25,000-35,000) and two of his most iconic engravings: Adam and Eve (1504, estimate: £100,000-150,000) and Melencolia I (1514, estimate: £80,000- 120,000). Rembrandt’s Self-Portrait, wearing a soft Cap: full Face, Head only (circa 1634, estimate: £15,000-25,000) and Self-Portrait with Saskia (1636, estimate: £7,000-10,000) demonstrate the sensitivity and outstanding draughtsmanship of the Dutch master painter-etcher. Further work by Rembrandt includes The Star of the Kings – a Night Piece (circa 1652, estimate: £12,000-18,000) and a luminous impression of Christ healing the Sick: 'The Hundred Guilder Print' on silk (circa 1648, estimate: £12,000-18,000).

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Lot 4. Albrecht Dürer (1471-1528), Adam and Eve, engraving, 1504, on laid paer, watermark Bull's Head with Flower (Meder 62), a fine Meder IIIa impression, printing with great clarity and strong contrasts. Sheet 250 x 193 mm. Estimate: £100,000-150,000. © Christie's Images Ltd 2021.

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Lot 4. Albrecht Dürer (1471-1528), Melencolia I, engraving, 1514, on laid paper, without watermark, a fine, warm Meder IIa impression, very clear and with intense contrasts, the figure's face printing very darkly (as called for by Meder in early impressions). Plate & Sheet 240 x 189 mm. Estimate: £80,000-120,000. © Christie's Images Ltd 2021.

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Lot 11. Rembrandt Harmenszoon van Rijn (1606-1669), Self-Portrait, wearing a soft Cap: full Face, Head only, etching, circa 1634, on laid paper, without watermark, a good impression of the only state, just beginning to show a little wear in places.Plate & Sheet 50 x 43 mm.Estimate: 25,000-120,000. © Christie's Images Ltd 2021.

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Lot 3. Rembrandt Harmenszoon van Rijn (1606-1669), Self-Portrait with Saskia, etching, 1636, on laid paper, watermark fragment Arms of Amsterdam, a very good impression of New Hollstein's second state (of four), the scratch on the hand still faintly visible. Plate 105 x 95 mm. Sheet 110 x 100 mmEstimate: 7,000-10,000. © Christie's Images Ltd 2021.

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Lot 85. Rembrandt Harmenszoon van Rijn (1606-1669), The Star of the Kings: a Night Piece, etching with touches of drypoint, circa 1652, on laid paper, with an indistinct watermark, a brilliant, dark and even impression of new Hollstein's first state (of four), printing with bright highlights and considerable burr in the lantern and thecolumn in the background. Plate 94 x 142 mm. Sheet 95 x 143 mm. Estimate: 12,000-18,000. © Christie's Images Ltd 2021.

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Lot 90. Rembrandt Harmenszoon van Rijn (1606-1669), Christ healing the Sick: 'The Hundred Guilder Print', etching with drypoint and engraving, circa 1648, on warm ivory silk, a fine and rich impression of New Hollstein's third state (of four), with Captain Baillie's re-work, printing with strong contrasts, with the silk support adding a luminous quality to the image. Plate 283 x 397 mm. Sheet 328 x 448 mmEstimate: 12,000-18,000. © Christie's Images Ltd 2021.

Collections of Italian prints include the late Professor Eric Stanley, and various scholars. Within these extraordinary groups are rarities by the engravers of Raphael's circle (Marcantonio Raimondi, Marco Dente, Agostino Veneziano), Nicolas Beatrizet and the Scultori-Ghisi Family. Their prints, after compositions by artists including Raphael, Michelangelo, and Giulio Romano, were instrumental in promoting their fame and disseminating Italian Renaissance art.

A few decades later in the Low Countries, artists such as Hendrick Goltzius and the Antwerp publisher Hieronymus Cock became the leading printmakers in Europe. A first state-impression of The Alchemist is an outstanding example of the many prints published by Cock after Pieter Bruegel’s quirky inventions (circa 1558, estimate: £20,000-30,000), while Mars and Venus surprised by Vulcan by Goltzius (1585, estimate: £3,000-5,000) epitomises his high mannerist style and the eroticised courtly culture of the period. Estimates range from £100 to £100,000 providing opportunities for collectors of all stages to acquire Old Master Prints.

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Lot 67. After Pieter Bruegel the Elder (circa 1525-1569) by Philips Galle (1537-1612), The Alchemist, engraving, circa 1558on laid paper, watermark Bunch of Grapes with Letters (not in Briquet or Heawood), a fine, clear and warm impression of the first state (of three), printing with a light plate tone and many horizontal wiping marks in the lower border. Plate 339 x 449 mm. Sheet 345 x 455 mm. Estimate: 20,000-30,000. © Christie's Images Ltd 2021.

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Lot 6. Hendrick Goltzius (1558-1617), Mars and Venus surprised by Vulcan, engraving, 1585, on laid paper, watermark Bunch of Grapes with pendant Initials IG (similar to Briquet 13194; first recorded Rouen, 1589-91), a fine impression of the first state (of three). Sheet 420 x 303 mm. Estimate: 3,000-5,000. © Christie's Images Ltd 2021.

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