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78472 Los(e)/Seite
Los 147
A 19th Century portrait etching after Pickersgill of The Duke of Wellington standing in full regalia holding a telescope, 29" x 18", together with a portrait of a soldier in uniform from The 1st Battalion The Duke of Wellington`s Regiment, 14 1/2" x 9 1/2", a book on the History of the Duke of Wellington`s Regiment, signed by the current Duke of Wellington and four further books on Wellington (7)
Los 25
Goltzius (Hubert) Vivae Omnium Fere 1557 title within strapwork cartouche, colour-printed from at least 2 woodblocks (green and white) over an etched outline, 133 chiaroscuro medallion portrait woodcuts over etching printed in tones of brown and sepia, 15 others with woodcut borders but no image, contents loose in single ff., title trimmed, and with initial (or number) `V` in upper corner, some printed numbers in chronological tables obscured or overprinted, some browning or marking, two armorial bookplates, loose in contemporary vellum, gilt rules and arms on covers, folio, [Adams G838], Antwerp, in officina Aegidii Copenii Diesthemii, 1557.
Los 325
Wagner (Richard) Parsifal sgd. ltd. one of 525 copies signed by the artist and with an original etching signed by the artist in pencil, loosely inserted, 16 tipped-in colour plates, illustrations, borders and decorations by Willy Pogàny, original pictorial vellum, gilt, original pictorial board box, worn, a fine copy, 4to, 1912.
Los 178
* Beatrizet (Nicolas, 1515-c.1570). Piet‡ for Vittoria Colonna by Nicolas Beatrizet after Michelangelo Buonarroti, etching dated Rome 1547, few paper repairs and light staining at head, close-trimmed to image, 380 x 270mm (15 x 10.5ins), Bartsch 25, together with The Last Judgement by Jean Piquet (c.1600-1650) after Johannes Stradanus, engraving trimmed to ruled border, 415 x 293mm (16.25 x 11.5ins), Hollstein 123a, plus an anonymous woodcut of the Adoration of the Shepherds, 16th c., trimmed to image and repaired to verso, 320 x 450mm (12.75 x 17.75ins) (3)
![* Goya y Lucientes (Francisco Jose de, 1746-1828). Porque esconderlos ? [Why Hide Them], etching, plate 30 from Los Caprichos](http://lot-images.atgmedia.com/SR/10729/2785737/182_468x382.jpg)
Los 182
* Goya y Lucientes (Francisco Jose de, 1746-1828). Porque esconderlos ? [Why Hide Them], etching, plate 30 from Los Caprichos, published 1799 [later 19th c. impression, probably from the 3rd or 4th edition], titled to lower margin, and numbered 30 to top left corner, plate size 217 x 150mm (8.5 x 6ins), together with Obsequio a el maestro [Homage to the Master], etching, plate 47 from Los Caprichos, a later 19th c. impression, titled to lower margin, and numbered 47 to top right corner, plate size 220 x 150mm (8.6 x 6ins), plus No se puede mirar [One Can’t Look], etching, from Los Desastres de la Guerra, c. 1810-12, [a later 19th c. impression], titled and numbered 26 and 27 to upper and lower left corners, plate size 140 x 205mm (5.5 x 8ins), each with good margins, some minor surface marks (3)
Los 190
* Baskett (Charles Henry, 1872-1953 ). The Dawn Wind, aquatint, from a published edition of 45, signed and titled in pencil, plate size 34.5 x 51.5cm (13.5 x 20.25ins), with margins, framed and glazed, with label of N. W. Lott & H. J. Gerrish to verso, together with Evening, aquatint, from a published edition of 35, signed, plate size 31.5 x 43.5cm (12.4 x 17ins), with margins, framed and glazed, with label of N. W. Lott & H. J. Gerrish to verso, plus Deakins (Cyril Edward, 1916-2002), Barton Stacey, Hants, drypoint etching, signed and titled in pencil, plate size 13.3 x 16.3cm (5.25 x 6.4ins), framed and glazed, with handwritten label to verso (3)
Los 207
* Larusdottir (Karolina, 1943-). Two Tables, etching with aquantint, signed, titled, and numbered 6/45, plate size 25 x 25cm (10 x 10ins), with margins, framed and glazed, together with Midgley (Julia), Party Party, tinted etching, signed, titled and numbered 10/40, plate size 42 x 45cm (16.5 x 17.75ins), with margins, framed and glazed, plus Munklinde (Kristina, 1936-), ‘Utfulgen’ (Flown away), colour etching, signed, titled and numbered 89/90, plate size 24.5 x 29.5cm (9.75 x 11.5ins), framed and glazed, and Hartill (Brenda), Arches I, etching with aquatint, signed, titled, dated 1985, and numbered 1/100, plate size 50 x 39cm (19.5 x 15.25ins), with margins, framed and glazed, with label for the Royal Academy Summer Exhibition 1985 to verso, plus Scovell (Audrey, 1942-2000), Night Flowers, etching with aquatint, signed, titled and numbered 5/50, plate size 49.5 x 25.5cm (19.5 x 10ins), with margins, framed and glazed, and other various etchings by contemporary artists, including Toni Martina, Mary Gillett, Patricia Shirley, Daniel Dickens, Sally Hunkin, Roger Coulon, Elizabeth Morris, Eva Edling, and others, mostly framed and glazed (22)
Los 211
* Nevinson (Christopher Richard Wynne, 1889-1946). Notre Dame, Les Quais de Paris, etching with drypoint, from an edition of 75, signed, plt. size 14.3 x 18.7cm (5.6 x 7.4in), with margins, some light toning, framed and glazed, (Guichard 68), together with Rawlinson (William T., 20th-c.), From the Castle Wall, Richmond, Yorkshire, woodcut, signed, dated 1960, titled and numbered 25/50, images size 30 x 21.5cm (11.75 x 8.5ins), with margins, framed and glazed, plus Die Frauenkirche, Dresden (Final State), woodcut, signed, dated, 1986, titled and numbered 14/50, images size 24 x 17.7cm (9.5 x 8ins) with margins, framed and glazed, and Spink (Victor), Sketches of Gravetye Manor, b & w reproduction print, numbered 287 from an unspecified limited edition, 32 x 45cm (12.5 x 17.75ins), framed and glazed (4)
Los 212
* Nicholson (Sir William, 1872-1949). ‘A Fisherman’, colour woodblock, titled and signed in pencil by the artist, sheet size 20 x 15cm (8 x 6ins), with three other portraits by the same artist - Right Hon. Joseph Chamberlain, the Archbishop of Canterbury and Li Hung Chang, plus Legros (Alphonse, 1837-1911), ‘paysage’, uncoloured proof etching, signed in pencil by the artist to lower margin, sheet size 26 x 33cm (10.5 x 13ins), all loosely contained in William Nicholson ‘Twelve Portraits’ green cloth folder (1)
Los 213
* Palmer (Samuel, 1805-1888). The Rising Moon (An English Pastoral), 1857, etching, 7th state (of 9) lettered to lower margin Samuel Palmer and numbered 10, image size 11.7 x 19cm, plate size 14.6 x 22.2cm, framed and glazed. Lister E7. Published in Etchings for the Art Union of London by the Etching Club, 1857. (1)
Los 218
Tanner (Robin, 1904-1988). British Etchers 1850-1940, by Kenneth M. Guichard, 1st ed., pub. Robin Garton, 1977, etching to title and two full-page etchings, each signed by Robin Tanner, b&w illusts., t.e.g., orig. qtr. blue morocco gilt, some light scattered foxing to illustration pages towards rear, 4to (1)
Los 220
* Wakefield (D. R., 20th century). Pike, etching, signed, dated ‘83, titled and numbered 17/90, plate size 29.5 x 49.5cm (11.5 x 19.5ins), framed and glazed, together with Rudd, colour etching and stencil, signed, dated ‘83, titled and numbered 3/30, plate size 30.5 x 25.5cm (12 x 10ins), framed and glazed, with orig. printed label to verso, plus Singe Perch, etching, signed, titled and numbered 39/90, plate size 17.5 x 25.5cm (7 x 10ins), framed and glazed, with orig. typewritten labels to verso. The second and third works in this lot were printed by the artist at the Chevington Press, in Tiverton, according to the label on each. (3)
Los 227
Rebell (Hugues). Trois Artistes Etrangers, 1st ed., Paris, 1901, three tinted plts., twelve plts. including folding facsimile of an illustrated Rops letter, signed pencil note by Rops to Ernest tipped in at front, bookplates of B. Sinnig and G. Delmay (large stamp size) at front, contemp. half morocco over marbled boards with orig. printed wrappers retained (sl. soiled), 8vo, (83/500 copies), together with [Camuset, Georges], Les Sonnets du Docteur, 3rd ed., Paris, 1893, two etched plts. by Rops plus facsimile of a letter by Monselet, a little spotting, orig. wrappers with etched frontis. by Rops, somewhat spotted and soiled and with damp staining visible to endpapers and pastedowns, facsimile plt. and lower border of the two Rops plts., glassine d.j. somewhat soiled and worn, plus the original copper etching plt. of the frontis. by Rops (13 x 9.5cm), contained in orig. envelope with an impression of the etching to upper cover, sl. soiled, plus Henry (F.-N.), Le Diable Dupe par les Femmes, 1st ed., Brussels, 1881, etched frontis. by Rops (somewhat browned), text in red, green and black, orig. printed wrappers in glassine d.j., wrappers a little chipped with loss, small 8vo, (143/500 copies), plus four others with Rops frontispieces or plts. The model used for the etching plate is believed to be Leontine Duluc, the same model used for one of his most famous works, the Pornocrates of 1878. (8)
Los 238
* Bellmer (Hans, 1902-75). Anamorphic Figure, etching, signed in pencil, and marked Epreuve d’essai, plate size 25 x 16.5cm, together with a copy of Hans Bellmer, Vingt-Cinq Reproductions 1934-1950, Textes de Nora Mitrani, Gisele Prassinos, Jehan Mayoux, Jean Brun ..., Paris, 1950, original printed wrappers, slim 4to, limited edition of 300 copies (2)
Los 249
* Gris (Juan, 1887-1927). Two lithographs from Ne Coupez pas Madamoiselle ou les Erreurs des P.T.T., by Max Jacob, pub. Paris, Galerie Simon, 1921, printed in an edition of 120 copies, entitled La Cartelettre and L’Apero, both badly frayed to margins, 30 x 22cm, together with four lithographs from Denise, by Raymond Radiguet, published Paris, Andre Simon et Cie, 1926, printed in an edition of 112, plus three lithographs from A Book concluding with As A Wife Has a Cow, Paris, Andre Simon et Cie, 1926, with colophon signed by Gertrude Stein and Juan Gris, plus twelve pages of text only from another published work illustrated by Gris, including one full page etching, and one etched illustration to text by the artist, and colophon dated 1925, signed by the artist, sheet size 19 x 12cm (7.5 x 4.75ins) Provenance: By descent from Anthony Bell, Chairman of the publishing house Lund Humphries. (11)
Los 262
* Pasmore (Victor, 1908-1998). Untitled (Mark Rothko Memorial Portfolio), 1972, etching, signed with initials, dated, and numbered 15/75, sheet size 63.5 x 51cm (25 x 20ins), framed and glazed. From a set of prints by Patrick Caulfield, Adrian Heath, Patrick Heron, John Hoyland, Allen Jones, Henry Moore, Bridget Riley, William Scott, and others, published by the Mark Rothko Memorial Trust in 1973. (1)
Los 328
* Smith (David H., 1947-). Storm I, 1977, monochrome watercolour, signed and dated lower left, 13 x 10.5cm (5 x 4ins), framed and glazed, with Fischer Fine Art label to verso, together with Palm Tree and Cliffs, etching, signed and dated ‘79, numbered 28/250, plate size 15 x 13cm (6 x 5ins), with margins, framed and glazed (2)
Los 316
Bryan Organ, abstract with geometric shapes and movement. Acrylic on canvas, signed and dated 1966 together with an Artists Proof by the same hand dated 1975, a framed and glazed charcoal study of a nude retrieving pearls from a broken necklace on the floor of well furnished apartment, an oil on canvas of the same subject and a limited edition coloured etching "Sunshine Village" after John Hawley.
Los 8
Sydney Robert Jones - `The Mansion House E.C.`, monochrome etching, circa 1927, signed and inscribed `2nd State Trial Proof No 3` in pencil, plate size approx 32.5cm x 21cm, within a titled mount, together with two further etchings by Jones, `Lloyds, E.C.` and `Port of London Authority, E.C.`.
Los 12
Sydney Robert Jones - `St Magnus the Martyr, London Bridge`, monochrome etching, circa 1922, signed, titled and inscribed `3rd State Final Trial Proof (Steel) Exhibition Specimen`, plate size approx 27.5cm x 16.5cm, within a titled mount, together with seven further etchings by Jones, Views of London.
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78472 Los(e)/Seite