Standards
- van Meckenem, Ecce Homo
- Dürer, Saint Jerome
- Dürer, The Little Courier
- Dürer, The Satyr Family
- Raimondi, Façade with Caryatids
- Altdorfer, The Resurrection
- Beham, Peasant Couple
- Beham or Dürer, Bookplate
- Pencz, The Life of Christ
- Davent, Musicians
- Lautensack, Landscape
- Matham, The Planets
- Callot, Balli di Sfessania
- Callot, La Chasse au Cerf
- Rembrandt, Clement de Jonghe
- Rembrandt, The Goldsmith
- Della Bella, The Five Deaths
- Ostade, The Fiddler
- Both, The Five Senses
- Nanteuil, Hardouin de Beaumont
- Visscher, A Mouse in a Mouse Trap
- Masson, Guilllaume de Brisacier
- Piranesi, A View of the Temple
- Watson, Mrs. Hale as Euphrosyne
- Moreau, Les Petits Parains
- Janinet, Le Sommeil d’Arianne
- Blake, And My Servant Job
- Unknown Engraver, Frederick
- Gericault, Horses Going to a Fair
- Jacque, Les Musiciens
- Haden, A By-Road in Tipperary
- Meryon, Saint-Etienne-du-Mont
- Bresdin, La Sainte Famille
- Whistler, Battersea Dawn
- Whistler, Limehouse
- Fantin-Latour, Manfred and Astarte
- Legros, Le Grand Canal
- Buhot, La Place des Martyrs
- Forain, Le Calvaire (2e planche)
- Pennell, In the Mist of the Morning
- Hassam, The Old Mulford House
- Zorn, "Oxenstierna"
- Toulouse-Lautrec, La Modiste
- Cameron, The Palace
- Sloan, Anshutz on Anatomy
- Bone, The Trevi Fountain, Rome
- Knight, At the Footlights
- McBey, Palestine: Blue Bonnets
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3. Albrecht Dürer (1471-1528) The Little Courier |
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(click on image to print)
The Little Courier
Engraving, ca. 1496, 109 x 75 mm., Bartsch 80, Meder 79 a (of e), ex collection: William M. Ivins, Jr. (not in Lugt). Very fine, bright impression, before the scratches described by Meder for B impressions and therefore of A quality, on thin laid paper showing the watermark of a five-petal flower with a stem (part of a Bull's Head watermark, probably Briquet 14739, Nuremberg, 1476)), trimmed on the border line, which is visible in places, or just barely within; tiny nicks repaired at three corners. Meder specifies a bulls head watermark for his A quality. The print comes from the collection of William Ivins, who was the print curator of the Metropolitan Museum from its founding in 1916 to 1946. There is no mark present, but annotations on the old mat identify the provenance.
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$20,000.00 |  |
