= Van Wisselingh 35, 100 impressions. With unidentified collector's mark on verso (Lugt 4135).
AND 2 other etchings by the same, both monogrammed in pencil: Stadswallen and Badhuis te Stamboel (Van Wisselingh 58 and 40).
= From the periodical The Studio (1895).
- Some folds.
= Comprises i.a. The Climax from Oscar Wilde, Salome (1891) and How Sir Tristram Drank the Love Drink from Thomas Malory, Le Morte d'Arthur (1893-1894).
- Slightly yellowed.
- Yellowed; sl. browned along passepartout; sm. light brown stain. Not examined outside the frame.
= M. Couwenbergh, Theo Beerendonk (Rijswijk, 2020), 108: "Rechthoeken en bogen zijn de belangrijkste elementen in dit abstracte schilderij in de lijn van het constructivisme (...) Wie de figuratie niet los wil laten kan er architectuur in zien (...)." (p.150.; illustrated on p.151). Part of the exposition Altijd in beweging in Museum EICAS (Deventer, 2023-2024). One of the rarer abstract works in the largely figurative oeuvre by Beerendonk. WITH a copy of the above mentioned reference work.
= All in the style of Pablo Picasso.
AND 2 others similar by the same: a drawing in the style of Cobra and an etching in the style of PABLO PICASSO.
= M. Couwenbergh, Theo Beerendonk (Rijswijk, 2020), 115: "Deze sculptuur van (...) toont zijn grafische achtergrond. De tot rechte hoeken gebogen repen staal, zouden ook heel goed een compositie op het platte vlak kunnen zijn" (p.156). WITH a copy of the above mentioned reference work.
= M. Couwenbergh, Theo Beerendonk (Rijswijk, 2020), 98: "Dit studieblad van naakten dateert uit de jaren vijftig" (p.140).
Idem. (Woman taking off her robe). Drawing, pencil and watercolour, 36x15 cm., signed "Theo Beerendonk" in pencil, under passepartout. - AND 2 smaller drawings by the same, both showing female nudes (each signed).





























































