Rembrandt Harmenszoon Van Rijn, Christ and the Woman of Samaria: Among Ruins, 1634. Etching printed in black ink on laid paper, signed and dated upper-right in the plate “Rembrandt f. 1634”, 12,9 x 11,3 cm (paper); 12,4 x 10,8 cm (plate). Ref. Bartsch 71; NHD 78 II (V). Courtesy of Jurjens Fine Art.
Albrecht Dürer, The Rhinoceros, 1515. Woodcut, print on watermarked laid paper of the 4th edition (of 8), the wood showing, in the lower part, a thin slit crossing the front legs of the animal. Printed in the late 16th century. Watermark: crowned shield with fleur-de-lys and letters “WR” as a pendant (Meder n. 121, before 1600). 21 x 29,4 cm (square line). Ref. Bartsch 136. Meder 273.4. Hollstein 273d. Courtesy of Galerie Martinez D.
Pablo Picasso, L’Aubade, avec Femme Accoudée, 1959. Linocut printed in colour, stamped in ink on the reverse, “Imprimerie Arnéra Archives / Non signé”. Provenance: Archives Imprimerie Arnéra. Courtesy of Frederick Mulder Ltd.
Hans Sebald Beham, The Lady and Death, 1541. Engraving, 7,9 x 5,2 cm. Ref. Bartsch 149; Pauli and Hollstein 150/I (of III). Provenance: private collection, Germany. Courtesy of Helmut H. Rumbler.
Kathy Prendergast, Kaleidoscope Series – Paris, 2017. Intaglio print on Somerset paper, 67,5 x 77 cm. Courtesy of Stoney Road Press.
Nicolas Poignon, Ephemeriden 4, 2019. Linocut on China paper, signed and numbered, 29 x 39 cm. Courtesy of Emanuel von Baeyer – Cabinet, London.
