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OLD MASTER THROUGH MODERN PRINTS

by Swann Auction Galleries

Platinum House

518 lots with images

May 1, 2013

Live Auction

104 East 25th Street

New York, NY, 10010 USA

Phone: 212.254.4710

Fax: 212 979 1017

Email: swann@swanngalleries.com

518 Lots
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MARTIN SCHONGAUER Christ Crowned with Thorns.

Lot 1: MARTIN SCHONGAUER Christ Crowned with Thorns.

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Description: MARTIN SCHONGAUER Christ Crowned with Thorns. Engraving, circa 1480. 163x115 mm; 6 3/8x4 1/2 inches, with thread margins outside the narrow black border line. A very good, richly-inked impression with strong contrasts on thin cream laid paper. Bartsch 13; Lehrs 23.

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MARTIN SCHONGAUER The Resurrection.

Lot 2: MARTIN SCHONGAUER The Resurrection.

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Description: MARTIN SCHONGAUER The Resurrection. Engraving, circa 1480. 165x117 mm; 6 1/2x4 5/8 inches, with thread margins outside the narrow black border line. A very good, well-inked impression of this scarce, early engraving, with contrasts. We have found fewer than 7 impressions at auction in the past 25 years. Bartsch 20; Lehrs 30.

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MARTIN SCHONGAUER A Bishop's Crozier.

Lot 3: MARTIN SCHONGAUER A Bishop's Crozier.

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Description: MARTIN SCHONGAUER A Bishop's Crozier. Engraving, circa 1475-80. 145x110 mm; 5 3/4x4 3/8 inches (irregular edges). Small bull's head watermark. The crook of the crozier is complete; lacking approximately 13 centimeters of the shaft. A very good impression of this extremely scarce, early engraving. Engraving was used widely by goldsmiths in the Upper Rhine region of Germany in the 1430s before it was implemented and perfected by painters to make prints later in the 15th century. Working in Colmar, once a part of southwestern Germany that is now Alsatian France, Martin Schongauer (1430-1491) was one of the earliest known artists to fully utilize the craft of engraving. Though his primary vocation was painting, his exquisite engraved images were circulated widely throughout Europe and are today the basis of his fame. Schongauer's work was profoundly influential to the generation of engravers who proceeded him, most notably Albrecht Dürer. In 1492, the 21-year-old prodigious Dürer had intended on training with Schongauer but arrived to the master engraver's workshop just months after he had passed away. Schongauer, whose prints were also popular amongst sculptors and goldsmiths, may have produced this engraving to be used by craftsmen as a preliminary design for a crozier. However, it has also been argued that this print was intended to show Schongauer's technical virtuosity in depicting intricate three-dimensional objects. Only 2 of the 116 extant engraved subjects created by Schongauer depict man-made sculptural objects like this crozier as opposed to the majority of Old and New Testament religious scenes he produced.Bartsch 106; Lehrs 105.

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ISRAEL VAN MECKENEM The Childrens' Bath.

Lot 4: ISRAEL VAN MECKENEM The Childrens' Bath.

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Description: ISRAEL VAN MECKENEM The Childrens' Bath. Engraving, circa 1485. 107x138 mm; 4 1/4x5 1/2 inches. Third state (of 3). Ex-collection Hermann Weber (Lugt 1383, verso); sold at Christie's, London, June 1992, lot 27. Trimmed on the plate mark. A very good impression of this extremely scarce engraving, with strong contrasts. We have found only one other impression at auction in the past 25 years. Bartsch 187; Lehrs 478.

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MASTER S The Virgin and Child with Saint Anne, Surrounded by Scenes from the Life of the Virgin.

Lot 5: MASTER S The Virgin and Child with Saint Anne, Surrounded by Scenes from the Life of the Virgin.

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Description: MASTER S The Virgin and Child with Saint Anne, Surrounded by Scenes from the Life of the Virgin. Engraving with hand coloring in gouache and watercolor, circa 1500. 90x70 mm; 3 1/2x2 3/4 inches. Ex-collection private Swiss collection; sold C. G. Boerner, Leipzig, May 3-4, 1927, lot 43 (subdivided lot 84, illustrated in color); Sotheby's, London, December 4, 1969, lot 28. cf. Hollstein 267-269.

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NETHERLANDISH SCHOOL, 15TH-CENTURY St. Bernard Adoring the Virgin and Child.

Lot 6: NETHERLANDISH SCHOOL, 15TH-CENTURY St. Bernard Adoring the Virgin and Child.

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Description: NETHERLANDISH SCHOOL, 15TH-CENTURY St. Bernard Adoring the Virgin and Child. Engraving with hand coloring in watercolor and gouache and additions in gilt. 83x60 mm; 3 1/2x2 3/8 inches. Ex-collection private Swiss collection; sold C. G. Boerner, Leipzig, May 3-4, 1927, lot 43 (subdivided lot 87, illustrated in color); Sotheby's, London, December 4, 1969, lot 31.

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MASTER OF THE BERLIN PASSION, ISRAEL VAN MECKENEM THE ELDER The Passion of Christ.

Lot 7: MASTER OF THE BERLIN PASSION, ISRAEL VAN MECKENEM THE ELDER The Passion of Christ.

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Description: MASTER OF THE BERLIN PASSION, ISRAEL VAN MECKENEM THE ELDER The Passion of Christ. Group of 10 metalcuts with floral frames and 17 woodcuts with border lines, each with contemporary hand coloring in gouache and watercolor, circa 1450-70. Each approximately 90x65 mm; 3 1/2x2 1/2 inches, with narrow margins outside the borders. Very good impressions of these extremely scarce, early prints, with strong colors. The Master of the Berlin Passion, generally accepted to be Israel van Meckenem the Elder, lived and worked in Bocholt, in what is now northwest Germany. A goldsmith by trade, his son--Israel van Meckenem--also trained as a goldsmith and ultimately eclipsed his father as a printmaker. Most of van Meckenem the Elder's prints are of a small fomat and hand colored, suggesting that they were to be pasted into books as substitutes for miniature paintings. Schreiber 1-24 and 26-35; Lehrs pp. 63-76; Hollstein pp. 79-113.

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CRISTOFANO DI MICHELE MARTINI, IL ROBETTA Allegory of Carnal Love.

Lot 8: CRISTOFANO DI MICHELE MARTINI, IL ROBETTA Allegory of Carnal Love.

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Description: CRISTOFANO DI MICHELE MARTINI, IL ROBETTA Allegory of Carnal Love. Engraving, circa 1498. 300x282 mm; 11 7/8x11 1/8 inches, narrow to thread margins. A very good, well-inked impression with strong contrasts. Bartsch 25.

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CRISTOFANO DI MICHELE MARTINI, IL ROBETTA Madonna and Child with St. John the Baptist and Three Angels.

Lot 9: CRISTOFANO DI MICHELE MARTINI, IL ROBETTA Madonna and Child with St. John the Baptist and Three Angels.

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Description: CRISTOFANO DI MICHELE MARTINI, IL ROBETTA Madonna and Child with St. John the Baptist and Three Angels. Engraving, circa 1500. 252x181 mm; 10x7 1/4 inches, narrow margins. Ex-collection Karl Edouard von Liphart (?) (Lugt 1689, verso). A very good, well-inked impression of this extremely scarce, early engraving, with strong contrasts. We have found only one other impression at auction in the past 25 years; Christie's, London, December 9, 1997, lot 115. Bartsch 21.

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ALBRECHT DÜRER The Prodigal Son.

Lot 10: ALBRECHT DÜRER The Prodigal Son.

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Description: ALBRECHT DÜRER The Prodigal Son. Engraving, circa 1496. 248x188 mm; 9 3/4x7 1/2 inches. A superb, dark and richly-inked Meder b impression, with the vertical lines distinct on the large pig in the right foreground and on the large gable to the right, with strong contrasts and little to no sign of wear. With thread margins or trimmed on the plate mark. Bartsch 28; Meder 28.

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ALBRECHT DÜRER Hercules, or the Effects of Jealousy.

Lot 11: 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 very good, dark and evenly-inked Meder 2 a-b impression, with strong contrasts and little to no sign of wear. High crown watermark (Meder 29, which he dates from around 1485 to 1520). Bartsch 73; Meder 63.

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ALBRECHT DÜRER The Little Fortune.

Lot 12: ALBRECHT DÜRER The Little Fortune.

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Description: ALBRECHT DÜRER The Little Fortune. Engraving, circa 1497. 120x66 mm; 4 3/4x2 5/8 inches. A good, evenly-inked Meder c-d impression. Ex-collection Ottokar Mascha (Lugt 1904, verso). With thread margins or trimmed on the plate mark. According to Meder, a very scarce ("sehr selten") engraving. Bartsch 78; Meder 71.

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ALBRECHT DÜRER Man of Sorrows with Arms Raised.

Lot 13: ALBRECHT DÜRER Man of Sorrows with Arms Raised.

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Description: ALBRECHT DÜRER Man of Sorrows with Arms Raised. Engraving, circa 1500. 116x70 mm; 4 5/8x2 3/4 inches. A superb Meder a impression, richly-inked, with strong contrasts and no sign of wear. A silhoutted impression; the entire engraved subject preserved, the blank background made up of another sheet of cream laid paper. Bartsch 20; Meder 20.

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HIERONYMUS GREFF (after Dürer) St

Lot 14: HIERONYMUS GREFF (after Dürer) St

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Description: HIERONYMUS GREFF (after Dürer) St. John before God and the Elders. Woodcut, 1502. 370x266 mm; 14 1/2x10 1/2 inches. Ex-collection two unknown collectors, indiscernible ink stamps, verso. Trimmed on or just inside the subject. Based on Dürer's same-titled woodcut from the Apocalypse, 1498 (Bartsch 63). See Meder p. 158.

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ALBRECHT DÜRER Christ Carrying the Cross.

Lot 15: ALBRECHT DÜRER Christ Carrying the Cross.

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Description: ALBRECHT DÜRER Christ Carrying the Cross. Woodcut, circa 1497-1500. 390x285 mm; 15 3/8x11 1/4 inches, thread margins. A very good, dark and well-inked impression from the 1511 Latin text edition with strong contrasts. Flower with a shovel watermark (Meder 127). Bartsch 10; Meder 119.

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ALBRECHT DÜRER Christ in Limbo.

Lot 16: ALBRECHT DÜRER Christ in Limbo.

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Description: ALBRECHT DÜRER Christ in Limbo. Woodcut, 1510. 396x285 mm; 15 5/8x11 3/8 inches, narrow to small margins. A very good, evenlt-printed and dark impression from the 1511 Latin text edition with strong contrasts. Bartsch 14; Meder 121.

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ALBRECHT DÜRER The Madonna on the Crescent.

Lot 17: ALBRECHT DÜRER The Madonna on the Crescent.

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Description: ALBRECHT DÜRER The Madonna on the Crescent. Woodcut, circa 1510. 210x188 mm; 8 1/4x7 1/2 inches. A very-good, well-inked and evenly-printed impression with no sign of wear; possibly a proof impression before the 1511 Latin text edition. Bartsch 76; Meder 188.

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ALBRECHT DÜRER Joachim's Offering Rejected.

Lot 18: ALBRECHT DÜRER Joachim's Offering Rejected.

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Description: ALBRECHT DÜRER Joachim's Offering Rejected. Woodcut, circa 1504. 296x213 mm; 11 3/4x8 5/8 inches, narrow to thread margins. A very good, dark and evenly-printed Meder f impression after the 1511 Latin text edition, with strong contrasts and little sign of wear. Small fish bladder with the letters IM watermark (Meder 309). Bartsch 77; Meder 189.

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ALBRECHT DÜRER The Annunciation.

Lot 19: ALBRECHT DÜRER The Annunciation.

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Description: ALBRECHT DÜRER The Annunciation. Woodcut, circa 1503. 298x212 mm; 11 3/4x8 3/8 inches, narrow to thread margins. A very good, dark and evenly-printed impression after the 1511 Latin text edition with strong contrasts and little to no sign of wear. Small fish bladder watermark (Meder 309, which he dates to around 1580). Bartsch 83; Meder 195.

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ALBRECHT DÜRER The Visitation.

Lot 20: ALBRECHT DÜRER The Visitation.

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Description: ALBRECHT DÜRER The Visitation. Woodcut, circa 1503. 300x215 mm; 11 7/8x8 1/2 inches, narrow margins. A very good, well-inked and evenly-printed Meder c impression after the 1511 Latin text edition. Small city gate watermark (Meder 273, which he dates to between 1570 and 1585). Bartsch 84; Meder 196.

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ALBRECHT DÜRER The Sojourn of the Holy Family in Egypt.

Lot 21: ALBRECHT DÜRER The Sojourn of the Holy Family in Egypt.

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Description: ALBRECHT DÜRER The Sojourn of the Holy Family in Egypt. Woodcut, circa 1504. 300x213 mm; 11 7/8x8 3/8 inches, narrow margins. A very good, well-inked Meder c impression after the 1511 Latin text edition with strong contarsts and little to no sign of wear and with the relief from the wood block distinct on the verso. Waterwheel watermark (Meder 253, which he dates from 1564 to 1573). Bartsch 90; Meder 202.

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ALBRECHT DÜRER St.John the Baptist and St.Onuphrius.

Lot 22: ALBRECHT DÜRER St.John the Baptist and St.Onuphrius.

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Description: ALBRECHT DÜRER St.John the Baptist and St.Onuphrius. Woodcut, circa 1504. 214x145 mm; 8 1/2x5 3/4 inches, narrow margins. A very good, richly-inked and evenly-printed Meder d impression. Partial double-headed eagle with a flower watermark (Meder 222, which he dates to around 1590). Bartsch 112; Meder 230.

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ALBRECHT DÜRER St. Jerome in his Cell.

Lot 23: ALBRECHT DÜRER St. Jerome in his Cell.

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Description: ALBRECHT DÜRER St. Jerome in his Cell. Woodcut, 1511. 230x161 mm; 9x6 3/8 inches. A superb, dark and richly-inked Meder a-b impression. With thread margins or trimmed on the outside of the border line. With an urn watermark (Meder 168, which he dates to around 1510). Bartsch 114; Meder 228.

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ALBRECHT DÜRER The Annunciation.

Lot 24: ALBRECHT DÜRER The Annunciation.

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Description: ALBRECHT DÜRER The Annunciation. Woodcut, 1509-1511. 128x97 mm; 5 1/8x3 7/8 inches, narrow margins. A very good, evenly-printed Meder a impression, after the 1511 Latin text edition, with strong contrasts and little to no sign of wear. Bartsch 19; Meder 128.

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ALBRECHT DÜRER Christ Taken Captive.

Lot 25: ALBRECHT DÜRER Christ Taken Captive.

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Description: ALBRECHT DÜRER Christ Taken Captive. Woodcut, 1509-11. 127x98 mm; 5x3 7/8 inches, small margins. A superb, dark and well-inked impression from the 1511 Latin text edition, with strong contrasts and no sign of wear. Bartsch 27; Meder 136.

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ALBRECHT DÜRER Christ before Pilate.

Lot 26: ALBRECHT DÜRER Christ before Pilate.

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Description: ALBRECHT DÜRER Christ before Pilate. Woodcut, 1509-11. 129x96 mm; 5 1/8x3 3/4 inches. A very good impression from the 1511 Latin text edition, with strong contrasts and no sign of wear. Trimmed on the border line with the border line preserved all around. Bartsch 31; Meder 140.

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ALBRECHT DÜRER Pilate Washing his Hands.

Lot 27: ALBRECHT DÜRER Pilate Washing his Hands.

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Description: ALBRECHT DÜRER Pilate Washing his Hands. Woodcut, 1509-11. 129x96 mm; 5 1/8x3 3/4 inches, thread margins. A very good, well-inked proof impression before the 1511 Latin text edition, with strong contrasts and little to no sign of wear. Bartsch 36; Meder 145.

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ALBRECHT DÜRER Veronica between Saints Peter and Paul.

Lot 28: ALBRECHT DÜRER Veronica between Saints Peter and Paul.

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Description: ALBRECHT DÜRER Veronica between Saints Peter and Paul. Woodcut, 1510. 123x97 mm; 4 7/8x3 7/8 inches, thread margins. A good, evenly-printed impression after the 1511 Latin text edition with strong contrasts. Bartsch 38; Meder 147.

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ALBRECHT DÜRER The Virgin and Child with a Pear.

Lot 29: ALBRECHT DÜRER The Virgin and Child with a Pear.

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Description: ALBRECHT DÜRER The Virgin and Child with a Pear. Engraving, 1511. 155x107 mm; 6 1/8x4 1/4 inches. A very good Meder b-c impression, without any scratches on the figures, an evenly--and clearly--printed impression with contrasts overall. Trimmed on or just inside the plate mark. Bartsch 41; Meder 33.

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ALBRECHT DÜRER The Flagellation.

Lot 30: ALBRECHT DÜRER The Flagellation.

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Description: ALBRECHT DÜRER The Flagellation. Engraving, 1512. 116x73 mm; 4 1/2x2 7/8 inches, thread margins. A very good, well-inked and dark Meder b impression with strong contrasts. Bartsch 8; Meder 8.

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ALBRECHT DÜRER St. Thomas.

Lot 31: ALBRECHT DÜRER St. Thomas.

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Description: ALBRECHT DÜRER St. Thomas. Engraving, 1514. 118x70 mm; 4 1/2x2 3/4 inches. A superb, dark and well-inked Meder a impression with the delicate vertical scratches at the far right edge of the plate and with strong contrasts. With thread margins or trimmed on the plate mark. Bartsch 48; Meder 50.

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ALBRECHT DÜRER St. Christopher facing left.

Lot 32: 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 very good, dark and evenly-printed Meder b-c impression with strong contrasts and no sign of wear. Bartsch 51; Meder 53.

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ALBRECHT DÜRER Melencolia I.

Lot 33: ALBRECHT DÜRER Melencolia I.

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Description: ALBRECHT DÜRER Melencolia I. Engraving, 1514. 240x187 mm; 9 1/2x7 3/8 inches. A superb, dark, richly-inked Meder II a impression, with the number "9" corrected in the third row of the number square upper right, with strong contrasts and no sign of wear, with the face dark and all the finest details distinct. Trimmed on the plate mark with the border line preserved all around. 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. 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 St. Jerome in his Study.

Lot 34: ALBRECHT DÜRER St. Jerome in his Study.

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Description: ALBRECHT DÜRER St. Jerome in his Study. Engraving, 1514. 246x186 mm; 9 3/4x7 1/2 inches. A very good, strong, well-inked, evenly-printed and luminous Meder b impression with all the fine lines distinct, with strong contrasts, with no sign of wear and with the 2 centimeter dark band at the upper edge (to the right of center), characteristic of the earliest impressions of this subject. Trimmed on the plate mark, with thread margins outside the narrow black border line. St. Jerome (ca.340-420) was a great Bible scholar known for the Vulgate, his revised Latin translation of the New and Old Testaments. A popular humanist saint throughout the Renaissance, St. Jerome was often depicted in his chambers engrossed in his studies. He is characteristically presented with his cardinal's hat and accompanied by his lion companion (a friendship he made when he compassionately removed a painful splinter from the lion's paw). Dürer's version of St. Jerome in his Study also depicts symbols of death and eternal life; death represented by the skull and hourglass, and eternal life through the crucifixion on the corner of St. Jerome's desk. Dürer achieved an incredibly rich range of tones in this engraving to create a strong sense of light and depth used to highlight the sanctity of St. Jerome and the crucifix in glorious sunlight. The large gourd hanging from the ceiling is a reference to philological debate surrounding the translation of a Hebrew word for plant mentioned in the story of Jonah in the Old Testament. Traditionally the translation was to cucurbita, meaning gourd, but St. Jerome went against this accepted translation and selected to use the word hedera, meaning ivy. This anecdote serves to exemplify St. Jerome's erudition and his commitment to his holy task. The carefully drafted perspective of Jerome's study is representative of Dürer's own focus on theories of perspective, which he defined in treatises published in 1525. St. Jerome in his Study, like Melencolia I (lot 33), represents one of the three meisterstiche (or master engravings) produced by Dürer. It has been argued that St. Jerome in his Study and Melencolia I represent the division of divine and secular knowledge, where the contrast is made apparent by comparing St. Jerome's peacefully meticulous divine study, with the angst-ridden, troubled genius in Melencolia I. The purported message conveyed by comparing these two prints is that devotion and attentive religious study leads to internal reward and harmony, while secular intellectual pursuits lead to tribulations and anxiety. Dürer was clearly partial to this saint; he represented St. Jerome more than any others in his prints. His choice of subject might also have been influenced by the 1514 translation into German of St. Jerome's biography by his friend and fellow Nuremberg humanist Lazarus Spengler (1479-1534). Bartsch 60; Meder 59.

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ALBRECHT DÜRER Christ on the Mount of Olives.

Lot 35: ALBRECHT DÜRER Christ on the Mount of Olives.

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Description: ALBRECHT DÜRER Christ on the Mount of Olives. Etching, 1515. 220x156 mm; 8 3/4x6 1/4 inches, narrow to thread margins. A very good, clearly-printed and dark Meder II b impression, with strong contrasts and traces of the rust marks on thin, cream laid paper. Ex-collection unknown collector (Lugt 899, verso); and Kunsthalle, Bremen (Lugt 292 and 293, verso). Bartsch 19; Meder 19.

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ALBRECHT DÜRER Philipp Melanchthon.

Lot 36: ALBRECHT DÜRER Philipp Melanchthon.

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Description: ALBRECHT DÜRER Philipp Melanchthon. Engraving, 1526. 164x120 mm; 6 1/2x4 inches. A good Meder c-d impression. King's crown watermark (similar to Meder 30, which he dates to around 1550). Ex-collection d'Arenberg (Lugt 567, verso). With thread margins or trimmed on the plate mark. Bartsch 105; Meder 104.

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JOHANNES WIERICX (after Dürer) Knight, Death and the Devil

Lot 37: JOHANNES WIERICX (after Dürer) Knight, Death and the Devil

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Description: JOHANNES WIERICX (after Dürer) Knight, Death and the Devil. Engraving, 1564. 248x190 mm; 9 3/4x7 1/2 inches, narrow margins. Second state (of 5), before any address lower right. A good, dark and well-inked impression of this scarce print. After the same-titled engraving by Dürer (Bartsch 98). Mauquoy-Hendrickx 1484.

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JOHANNES WIERICX (after Dürer) Melencolia I

Lot 38: JOHANNES WIERICX (after Dürer) Melencolia I

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Description: JOHANNES WIERICX (after Dürer) Melencolia I. Engraving, 1602. 235x186 mm; 9 1/4x7 3/8 inches. With thread margins or trimmed on the plate mark. A very good, evenly-printed impression of this scarce engraving. Mauquoy-Hendrickx 1556.

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LUCAS VAN LEYDEN Joseph Escaping Potiphar's Wife.

Lot 39: LUCAS VAN LEYDEN Joseph Escaping Potiphar's Wife.

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Description: LUCAS VAN LEYDEN Joseph Escaping Potiphar's Wife. Engraving, 1512. 125x162 mm; 5x6 3/8 inches. First state (of 3), before the address of Petri. Unicorn watermark. Trimmed on the plate mark. A very good, dark impression of this scarce engraving. Bartsch 20; Volbehr 19; New Hollstein 20.

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LUCAS VAN LEYDEN Potiphar's Wife Accusing Joseph.

Lot 40: LUCAS VAN LEYDEN Potiphar's Wife Accusing Joseph.

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Description: LUCAS VAN LEYDEN Potiphar's Wife Accusing Joseph. Engraving, 1512. 125x162 mm; 5x6 3/8 inches. First state (of 3), before the address of Petri. Trimmed on the plate mark, with the border line preserved all around. A very good, dark impression with strong contrasts. Bartsch 21; Volbehr 20; New Hollstein 21.

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LUCAS VAN LEYDEN (after)  The Large Ecce Homo

Lot 41: LUCAS VAN LEYDEN (after) The Large Ecce Homo

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Description: LUCAS VAN LEYDEN (after) The Large Ecce Homo. Engraving, early 1600s. 280x440 mm; 11x17 1/4 inches. thread margins. Counter mark with the letters M M to an unknown watermark. A very good impression of this large, scarce engraving. Based on the same-titled engraving by Lucas van Leyden from 1510 (see Bartsch 71).

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LUCAS CRANACH THE ELDER The Resurrection.

Lot 42: LUCAS CRANACH THE ELDER The Resurrection.

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Description: LUCAS CRANACH THE ELDER The Resurrection. Woodcut, 1509. 247x168 mm; 9 3/4x6 5/8 inches. Ex-collection unknown collector, ink stamp verso (not in Lugt). From the Passion. A very good, possibly early proof impression before the text verso, with strong contrasts and little to no wear. Bartsch 20.

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Group of 4 woodcuts.

Lot 43: Group of 4 woodcuts.

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Description: Group of 4 woodcuts. HANS SCHAUFFELEIN and/span HANS FRANK. The Crucifixion. Bartsch 30 * MASTER MZ (Matthäus Zaisinger ?) (after). Memento Mori, with hand coloring in watercolor, after 1500. cf. Lehrs 20 * CHRISTOFFEL VAN SICHEM. The Crucifixion * ANTONIO TEMPESTA (after). Roman Emperor on Horseback. Ex-collection unknown collector, dated "Roma 1802" in ink, verso. Various sizes and conditions.

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HANS BALDUNG GRIEN Frag und Antwurt der Zehen Gebott: Wie man die halte sol . . . by Marquard von Lindau.

Lot 44: HANS BALDUNG GRIEN Frag und Antwurt der Zehen Gebott: Wie man die halte sol . . . by Marquard von Lindau.

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Description: HANS BALDUNG GRIEN Frag und Antwurt der Zehen Gebott: Wie man die halte sol . . . by Marquard von Lindau. Bound volume with Latin text and 10 half-page woodcuts, 1520. 268x185 mm; 10 1/2x7 1/4 inches (sheets), wide margins. Published by Johannes Gruningern, Strassburg. Early full vellum binding with Latin text in ink on the covers. Very good impressions of these exceedingly scarce woodcuts illustrating the Ten Commandments. We have found only 3 other copies of this work in public collections (Bibliothèque Nationale, Paris; Universitäts Erfurt, Gotha; and the British Library, London) and none at auction in the past 25 years.

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ALBRECHT ALTDORFER The Great Altar with the Virgin.

Lot 45: ALBRECHT ALTDORFER The Great Altar with the Virgin.

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Description: ALBRECHT ALTDORFER The Great Altar with the Virgin. Woodcut, 1520. 295x211 mm; 11 5/8x8 1/4 inches, small margins. Loss left margin, outside and not affecting the image. With--LEONARD BECK. A Prioress Saint, woodcut. 233x213 mm; 9 1/4x8 1/4 inches. Ex-collection Friedrich August II (Lugt 971, lower right recto); and Dr. Albert W. Blum (Lugt 796, verso). Bartsch 50 and 82 (as Burgkmaier).

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HEINRICH ALDEGREVER Group of 5 engravings.

Lot 46: HEINRICH ALDEGREVER Group of 5 engravings.

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Description: HEINRICH ALDEGREVER Group of 5 engravings. Adam and Eve, 1540 * Joseph Recounting his Dreams to Jacob, 1532 * Envy, 1552 * Intemperance, 1528 * Standard Bearer in a Landscape, 1540. Bartsch 3, 18, 124, 132 and 177. With--A group of 6 engravings by, after or attributed to Dürer, Sadeler and others. Various sizes and conditions.

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HEINRICH ALDEGREVER Group of 5 engravings.

Lot 47: HEINRICH ALDEGREVER Group of 5 engravings.

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Description: HEINRICH ALDEGREVER Group of 5 engravings. Lot Welcomes the Angels, 1555 * Lot Prevents the Inhabitants of Sodom from Violence, 1555 * Leda with the Swan and Hercules as a Child, 1550 * Hercules and Anthaeus, 1550 * Hercules and the Hind, 1550. Good impressions. Various sizes and conditions. Bartsch 14, 15, 83, 88 and 95.

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HANS SEBALD BEHAM The Peasants Feast or the Twelve Months.

Lot 48: HANS SEBALD BEHAM The Peasants Feast or the Twelve Months.

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Description: HANS SEBALD BEHAM The Peasants Feast or the Twelve Months. Complete set of 10 engravings, 1546-47. Each 50x75 mm; 2x3 inches, thread margins. Each in the second state (of 2 or 3). Superb, dark and richly-inked impressions with strong contrasts, extremely scarce as a complete set. Bartsch 154-163.

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HANS SEBALD BEHAM Collection of 19 engravings.

Lot 49: HANS SEBALD BEHAM Collection of 19 engravings.

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Description: HANS SEBALD BEHAM Collection of 19 engravings. Each 1520-1545. Including 7 from Christ and the Twelve Apostles; 4 from the Seven Virtues and others. Each ex-collection unknown collector, initials ink stamp verso (not in Lugt). Various sizes and conditions.

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GEORG PENCZ Artemisia.

Lot 50: GEORG PENCZ Artemisia.

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Description: GEORG PENCZ Artemisia. Engraving, circa 1539. 195x136 mm; 7 3/4x5 3/8 inches. Ex-collection Wilhelm Drugulin (Lugt 2612, verso). Trimmed on the plate mark. A very good, dark and evenly-printed impression. Bartsch 83; Landau 91 a (of b).

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