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Preisdatenbank abonnierenMichael Ayrton (British, 1921-1975) Rising, from the Minotaur Series signed lower right "Michael Ayrton", proof etching 50 x 74cm Beginning in 1961, Michael Ayrton wrote and created many works associated with the myths of the Minotaur and Daedalus, the legendary inventor and maze builder, including bronze sculpture and the pseudo-autobiographical novel "The Maze Maker" (Holt, Rinehart and Winston, 1967)
* John Augustus Atkinson 1775-1833- "Charcoal Bark". published May 1st 1803, by JA Atkinson & JA Walker London & Messrs John & Josiah Boydell, Pall Mall, London; etching and aquatint printed in colours, 20x25cm: Raphael Wintter 1784-1852- "Thierstudien"; five plates, c.1831, etchings: William Henry Pyne 1784-1852- "Cattle Market; Domestic Employment"; published by Pyne & Nattes, aquatint in brown, pl.1,2: together with a folio of other 18/19th century etchings and engravings by and after various hands to include After Teniers, "La Vessie"; Frank Palou, "Notice to Quit"; Klien, Peasant travellers; Ludwig Richter, Zu den Vater Kommen die Kinder"; and others, (17) (unframed)
* Le Brussel, act. early 19th century- "Aloys Senefelder"; lithograph, after Jabard, full sheet with margins, on cream wove, 31x24cm, (unframed) Note: Senefelder the inventor of lithography; Problems with the printing of his play Mathilde von Altenstein caused him to fall into debt, and unable to afford to publish his new play, playing with an etching technique using a greasy, acid resistant ink as a resist on a smooth fine-grained stone of Solnhofen Limestone. He then discovered that this could be extended to allow printing from the flat surface of the stone alone, the first Planogrphic process in printing. He joined with the André family of music publishers and gradually perfected his technique into a workable state. He called it "stone printing" or "chemical printing", but the French name "lithography" has stuck.
* Carlo Marrata 1623-1713- "..Abraham Isaac..."; etching, overall good impression, handling marks and minor creasing to the centre margins, scattered foxing to the entire sheet: After Giuseppe Maria Mitelli 1634-1718- The Triumph of Bacchus and Ariadne; etching on wove: Pietro Monaco c.1707-1772- "S.Pietro ....Da Gesu Cristo.."; published in Venice, engraving after Giovanni Battista Crosato c.1697-1756: and others by and after various hands, (a lot) (unframed)
Frances Myers, American b.1936- "Gotham"; aquatint in colours, signed, titled and inscribed `Artist`s Proof` in pencil, 69.5x55cm: American School, late 20th century- Straw basket; screenprint in colours, signed, numbered 17/90 and dated 1981 in pencil, 95x74cm: American School, late 20th century- Seated figure with flowers; etching printed in colours, signed, numbered 20/50 and dated 78 in pencil, 60x47cm: together with a framed poster for a Picasso exhibition at The Pace Gallery, New York, 108x70cm., (4) Provenance: with Joan E Kaplan, New York, according to label attached to the reverse of the frames of three of the above pictures
* After Pablo Picasso 1881-1973- Horse and carriage from the Portfolio of "La Célestine"; c.1968, (B.1583) etching, on cream wove with full margins, bears signature and numbered 25/50 in pencil, bears blind stamp for Liberia Prandi Reggio, good condition, 25x33cm Note: There were 66 etchings for the Portfolio of La Célestine which Picasso completed between April 11 and August 18, 1968. The series was printed in collaboration with brothers Piero (1934-2001) and Aldo Crommelynck who, in 1963, set up a studio in Mougins when Picasso was 82 years old. Picasso`s prolific production relied on these engravers. The original portfolio was published by Editions de l`Atelier Crommelynck in Paris in 1971. (unframed)
* Jacques Villon- "Marchands des Quatres Saisons"; (G. & P. 273) etching with aquatint, signed in pencil, on cream laid paper with margins, unnumbered impression, from the original edition of 25, good condition, 30.4x38.5cm: "La mer vient a nous tandis que la montagne or Sur le Galet, Les vieux"; (G. & P. 178) etching with aquatint printed with tone, inscribed essai and signed in pencil, on cream wove with margins, good condition: "Le Banc Des Vieux"; lithograph printed in colours 1899, signed in blue crayon, numbered 3/40 (recorded as edition of 40), on simili japan paper, with margins, in good condition apart from minor paper discolouration and pale mount staining, (3) (unframed)
* James Arden Grant 1887-1974- The Bathroom; circa 1920s, dry-point etching, 2nd state, initialed and inscribed in pencil, on laid paper, with margins, scattered staining within the image, 20x24cm: together with an interesting folio of lithographs and dry-point etchings by Grant, mostly signed and dated c.1920s, predominantly of his wife and young family, to include "Cafe Types; The Drawing lesson; Beach Scene; Zeda; The Bath and others, with multiple images various states and proofs: Hubert Andrew Freeth 1912-1986- "Campbell Dodgson Esquire"; etching printed with tone, 1938, 2nd state, signed dated and titled in pencil, (a lot) (unframed)
Samuel Buck 1696-1779 and Nathaniel Buck fl. 1724-1759- The North Prospect of the City of Wells; The South-West Prospect of the City of Lincoln"; published by S. & N. Buck, No. 1 Garden Court, Middle Temple, 1736-1745, two plates from the "Cities, Sea-ports, and Capital Towns"; London, engravings by S. & N. Buck, No. 1 Garden Court, Middle Temple, 32x81cm,ea: Wenzel Hollar 1607-1677- Lincoln Cathedral/ Ecclesia Cathedralis Lincolniensis Facies Occidentalis "; 1672, etching with engraving, published in 1672 for Monasticon Anglicanum: or, the History of the Ancient Abbies, Monasteries, Hospitals, Cathedral and Collegiate Churches, with their Dependencies, in England and Wales. Note: Hollar returned to England in 1652 and begun working for the publisher John Ogilby and the antiquary Sir William Dugdale. Over the next twenty-five years he etched more than 566 plates for them, dedicated to Michael Honywood dean of Lincoln, (3)
Ken Moore b.1923- The dressing room; 1983, off-set lithograph, signed and numbered 3/25, 52x26cm: Jo Oakley, late 20th century- Mosaic; etching: Robert Heinbel, late 20th century- Deux Filles; off-set lithograph: Patricia Emery, late 20th century- still-life; reproductions printed in colours, and others (7) (may be subject to Droit de Suite)
George Pencz 1500-1550- The centaur visited by thetis; Tomyris hiding King Cyrus head; and Sextus tarquinius raping lucretia (B.90,70,78: Holl, 119,120, 130; L.78,73,68), respectively, etching and engravings three plates, initialed within the plates, B.90 and 70 fine rich impressions, B.90 with narrow margins, the others with thread margins, B.70 trimmed on the platemark in places, B.90 with small hole on dog, B.70 with thin areas along left edge of sheet, occasional foxmarks, otherwise in generally good condition, (3) (unframed)
E Hedley Fitton 1859-1929- "Chichester Cross"; published Dec, 1st by R Dunthorne Wilson, London; dry-point etching printed with tone, signed in pencil, 43x35cm: together with similar dry-point etchings by Albany E Wowarth 1872-1936, and others, (4) Note: Hedley Fitton was an engraver and printmaker noted mainly for his architectural etchings. His etchings included street scenes and important cathedrals in London, Florence, Edinburgh and Paris, In 1907 the Societe des Artistes Francais awarded Fitton a Gold Medal for his work. Fitton was a pupil at the Warrington School of Art in Cheshire. He travelled and worked extensively in England, Scotland, France and Italy. He lived in Didsbury in the 1890s, working as editor and illustrator for The Daily Chronicle in Manchester.
Don Bessant 1941-1993- "Wrestlers"; etching with aquatint, signed, titled, numbered 5/10 in pencil and dated 63 in pencil, bears label for Royal College of Art, London, signed by Robin Darwin, attached to the reverse, 28x23cm: Ruta, mid-late 20th century- Figures on a city street and in a parkland setting; pen and black ink and wash, two, both signed, 33x48cm., ea: Julia Farrer b.1950- "Babel"; drypoint etchings, the full suite of six, signed, numbered 9/25 and dedicated on the boards, each signed in pencil, 29x15cm., ea: David Gille, mid 20th century- Untitled abstract composition; gouache, signed and dated 1963, 24x29.7cm., (a lot) (part unframed) (may be subject to Droit de Suite)
AFTER WILLIAM SPENCER BAGDATOPOULOS "Kashmiri", study of a bearded man in turban and woman in robes, a pair, black and white etchings, signed and No`d 23/35, together with AFTER AUGUSTUS BROUET "Cirque Ambulant", study of figures and caravans, black and white etching, 1st state, No : D 1/15, signed in pencil
AN ITALIAN ETCHED COMB MORION, CIRCA 1600, POSSIBLY BRESCIA formed in one piece with tall skull rising to a very high roped medial comb (cracked and repaired at the apex), integral brim turned down at the sides and rising to a point at the front and the rear, its edge decorated with a file-roped inward turn accompanied by a recessed border (two small cracks), the base of the crown encircled by eighteen round-headed lining-rivets and fitted at the rear with a brass plume-holder, finely etched on each side of the crown with a bold design of interlacing strapwork surrounding military trophies enclosing at the centre a standing classical warrior, the crown decorated en suite and with a central cherub on each side, and the brim with a band of acanthus foliage (small delaminations, areas of pitting, the etching worn in parts) 33cm; 13in high A morion decorated in a similar style is preserved in the Armeria del Museo Civico Medievale di Bologna. See L. G. Boccia 1991, p. 57
Milton (John) Paradise Lost, 1906, Lyceum Press, 12 plates by William Blake, original cloth-backed boards; [Whistler, Tenniel, Millais, et al.], Passages from Modern English Poets illustrated by the Junior Etching Club, nd., 47 etchings on 45 plates, a.e.g., original cloth (lacking front endpaper); Cescinsky (Herbert) & Webster (Malcolm R.), English Domestic Clocks, nd., t.e.g., half morocco (rubbed); Philip (George), Philips` New Handy General Atlas & Gazetteer, 1926, folio, a.e.g., half morocco (4)
Piranesi [Francesco] Avanzi degl`Aquedotti Neroniani .., [Remains of the Aqueduct of Nero], nd., etching, 484mm x 706mm, from Giovanni Battista Piranesi`s Vedute di Roma, 1778 or later, numbered, framed and glazed (glazing cracked) (Ficacci, L., Giovanni Battista Piranesi, The Complete Etchings # 989)
GLYNN BOYD HARTE (b. 1948) - `Mr. Dodd`s Auricula`, lithograph, pencil signed and numbered 111/125, 23" x 30"; two further by the same hand to include a champagne bottle upon a table and a shop front; an artist proof etching with aquatint, indistinctly signed and dated 1979; and a print after Arnost Paderlik (5).
AFTER CANALETTO A CELEBRATION AT STA MARIA DELLA SALUTE engraving, together with: A View of St Mark`s Square, Venice with a crowd; The Senate Room in the Doge`s Palace, Venice, framed and glazed, each 38cm x 55cm; and an etching of the Siennese Celebrations, framed and glazed, 46cm x 66cm (4) Provenance: Brockwood Park School, Hampshire.
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