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Preisdatenbank abonnierenSir Francis Seymour Haden (British, 1818-1910) A River's Bank [Dundrum or Multeen River, Ireland] etching, signed in the plate 15.5 x 14 cm Literature: Schneiderman 46b iv/iv; Harrington 49 ii/ii Good bright impression in the fourth state, as published in Etchings for the Art Union of London by the Etching Club in 1872, under the title "A River's Bank".
Evelyn Gibbs (British, 1905-1991) The Haunted Ruin, circa 1927 signed by the artist in pencil etching 19 x 23 cm 'Unique' touched proof impression, with pencil shading on the lintel above the cottage door. A particularly good signed proof impression prior to the only edition. The granddaughter of an Edinburgh engraver, Evelyn Gibbs trained as an artist in her native town of Liverpool. She came to London after winning an Exhibition to the Royal College of Art where she learned the techniques of printmaking under Malcom Osborne. In 1929 Evelyn Gibbs won the Prix de Rome for engraving and was to spend the following two years in Italy. Upon her return to England she became an influential teacher of art, being appointed Lecturer in Art at Goldsmiths' College in 1934. Highly regarded as an original printmaker, her works were handled by the prestigious XXI Gallery.
Pablo Picasso (Spanish, 1881-1973) Composition au Verre et Compotier bearing pencil signature and numbered 262/300 published by Atelier Crommelynck, Paris and with their blindstamp etching and aquatint in colours 49 x 60cm (image) Provenance: Private collection, London Purchased from Natalie Knight Gallery, Johannesburg in 1983, with original invoice attached verso
Salvador Dali (Spanish, 1904-1989) Gretchen (from Goethe's Faust) [1969] signed in pencil lower right over 'Dali' embossed stamp and numbered 50/145 coloured etching on Japan paper 38 x 29cm (sheet) Provenance: Forster & Raab, Koeln gallery label verso 'Faust' is Goethe's most famous work and considered by many to be one of the greatest works of German literature. Faust (part one) begins in heaven. Mephistopheles makes a bet with God. He says that he can deflect God's favourite human being, Faust, who is trying to learn the best in life and turns to magic for the showering of infinite knowledge. Fearing failure, Faust goes for a walk with his assistant Wagner and is followed home by a stray poodle. In Faust's study, the poodle transforms into the Devil. Faust makes an arrangement with the Devil that the Devil will do everything that Faust wants whilst on earth, and in exchange Faust will serve the Devil in Hell. Faust then meets a young girl, Gretchen, to whom he is deeply attracted and the devil draws Gretchen into Faust's arms. After the sudden death of her mother and brother Gretchen discovers she is pregnant. She drowns her illegitimate child and is convicted of the murder. Faust tries to save Gretchen from death but finding that they cannot free her, Faust and the Devil flee the dungeon, while voices from heaven announce that Gretchen shall be saved.
AFTER OF SIR PETER PAUL RUBENS BORROWING A LIGHT Inscribed, oil on canvas 91cm x 74cm (36in x 29in) Provenance: Glendoune, Ayrshire Note: The inscription at the bottom of the canvas identifies this work as after an etching which Rubens engraved from the original painting, now is a Private Collection. Rubens kept the original canvas in his personal collection until his death. The night-time scene is a rare subject matter for the artist.
This monumental tribute in respect to the memory of Ad. Ld. Nelson, who in the moment of victory glorious fell fighting ...Hand coloured etching, London: I. Hinton, March 1, 1806. Framed, small size Note: Similar to Le Quesne 43, this is a rare example of one of the prints used as the basis for the glass pictures. Such prints are all togther different from the high quality mezzotints used as the basis for glass pictures in the previous century. The prints are largely etchings strengthened in places by some dirct engraving of the plates, together with some light use of the mezzotint rocker. Surving prints are rarer than the glass pictures themselves and Professor Le Quesne records only ever having seen two. (Le Quesne pp. 94-95).
Baron Nelson, of the Nile and Burnham Thorpe in the County of Norfolk. Hand coloured aquatint with etching, London: John Fairburn, Nov. 26, 1798. Framed, 37cm x 25cm; together with 'Sir Edward Hawke', a glass print, 36cm x 26cm; and 'Nelson', a glass print in black, backing missing, 31.5cm x 25cm (3)
The Jubilee Naval Action on the Serpentine in Commemoration of the Battle of the Nile Hand colour aquatint with etching, Surrey: T. Palser, Aug. 24, 1814. Framed, image 22.5cm x 33cm; together with another of the same subject, London: Edwd. Orme, Aug 12, 1814. Framed, image 15.5cm x 23cm (2)
Wenceslaus Hollar (Von Parachna) 1607-1677- The Hunt, from the illustrations to Aesop's Fables; etching, signed within the plate, showing scattered worm holes and thin spots unexamined out of the frame, 25x19.5cm: European School early 17th century- View of Prague, circa 1618; engraving: together with two other 19th century engravings by and after various hands, (4)
* Georges Mercier, French 19th century- "Day's Work Done", after Jules Breton, copyright 1889 by C Klackner NY and G W H Ritchie, imp; etching with remarque, signed twice in pencil 49.5x70cm: Achille Jacquet, French 1846-1908- "Le Guide", after Meissonier, publ 1894 by Arthur Tooth & Sons, London; etching with remarque, signed within the plate and signed in pencil, in a good Kentian frame, bearing Arthur Tooth & Sons label attached to the reverse, 66.7x50.7cm: Leon-Auguste L'Hermitte, French 1844-1925- The Sermon, publ June 1st 1888 by Arthur Tooth & Sons, London; etching, signed and dated 1887 within the plate, signed in pencil, bears gallery label for Arthur Tooth & Sons attached to the backboard, 66.3x47.3cm., (3)
Sir Francis (Frank) Job Short RA PRE, 1857-1945- "Walberswich Pier, Sept, 1890"; drypiont etching, signed in pencil, signed, titled and monogramed, within the plate, 16x24cm: together with four other prints by the same hand, as follows: "Old Quay on the Nith"; drypoint etching, signed in pencil and within the plate: "Canal at Cookley, Dee Sands"; lithograph, initialed in pencil: "Seine Fishing"; lithograph, signed in pencil: "Cloudburst Over Dee Sands, mill at Ash, Kent"; lithograph, initialed in pencil, in matching gilt frames, (5)
Jean-Baptiste Valadie b.1933- Seated female nude; etching printed in colours, signed, numbered and dated indistinctly in pencil, 29x39cm: After Mariette Lydis 1890-1970- "Dominique"; reproduction printed in colours, signed within the plate, 37x27cm: Hanfstaengl, publ- "Die Zukunft", after Herbert von Herkomer; colour reproduction print, signed and dated 1905 within the plate, bears additional printed facimile signature, 27x18cm: After Howard Elcock- "New York Dance Hall" and "'Tis Woman's Whole Existence"; hand-coloured reproduction prints: 29x44cm., ea: After Barbara Wood- "Tea Time"; colour reproduction print, signed and numbered 641/750 in pencil: together with a colour reproduction print of a garden subject, signed and titled in pencil, two contemporary paintings on silk and a contemporary Egyptian painting on papyrus, (10) (may be subject to Droit de Suite)
After Charles Philips 1708-1747- "Her Royal Highness, Augusta princess of Wales"; published by Thomas Bowles, London, 1737, mezzotint, 36x25cm: Jean Jacques De Boissier 1736-1810- "The Village square"; etching, initialed and dated 1774: together with other 19/20th century etchings and lithographs after various hands to include Ernest Meissonier 1815-1891- "The Dispute"; etching, with remarque, bears signature in pencil,Tatton Winter 1855-1928, etching and Charles E Peers 1875-1944, lithographs, (8) (part unframed)
Henry Moore (1898-1986), “Mother and Child VII", signed and numbered 43/65 in pencil in the margin, from Mother and Child portfolio, from an edition of 65 with 15 H.C.'s, printed by James Collyer and John Crossley, London 1983-1986, published by Raymond Spencer Company Ltd for the Henry Moore Foundation, etching and aquatint and roulette, plate size 25 x 30cm.; 9.75 x 11.75in. Illustrated
Sir Claude Francis Barry (1883-1970), full length portrait of Mary Marshall, oil on board, 60" x 51", Paris Salon label on reverse, to be sold with a copy of the original catalogue "La Revue Moderne, 1st September 1965" (This picture is illustrated on page 5) and with two hand-written letters from Barry the envelopes post-marked 31/10/63 and 4/4/64. " You stole the show with your great beauty and glorious voice. Your attraction is very disturbing to any man who sees you, you know I often dream about you - you know your beauty is not just physical the beauty of your character shines in your face - artists know these things Mary"; the second letter finishes "Do you know you are one of the loveliest girls in the World." Also included in the sale are a copy of a photograph of her wearing the dress in the painting and a Columbia Records postcard. Sir Claude Francis Barry was born 125 years ago into a rich family whose wealth was based on heavy industry. But he had a troubled childhood after the death of his m ther when he was two and his father's subsequent re-marriage in 1893. In 1905 he went to live in St Ives. Barry was a pacifist and was any way exempted from military service; he did not fight in the First World War. From about 1905, he exhibited his pointilistic works at the Royal Academy and elsewhere. Between the Wars he became renowned for his etchings and spent much of his time on the Continent returning to St Ives in 1939. Most of his etching plates were stored in Milan and were destroyed by a bomb in 1944. After the War he left Cornwall to live on Jersey. It is during this period that he painted many of his portraits including this one. Provenance; This portrait is sent in for sale by the sitter. Mary Marshall knew the artist well and he had great admiration for her as a singer. She was born in Bolton and was a solo artiste with Columbia in the 1950's. For a short time she was a member of a group "The Three Shades". She moved from her recording company and accepted a contract to perform in the Channel slands for impresario Sydney James, where she caused an unprecedented sensation; they were married in 1960 and settled in Guernsey. Mary continued in Sydney's Olde Tyme Music Hall shows and cabarets for many years having had two daughters. She retired in 1979 and remains in Guernsey today having remarried after her husband's death in 1985.
Mid 19th century British School - silhouette profile of a boy, indistinctly inscribed 'Arthur Lylleton Apinesty? aged 13' on label verso, 4.25" x 3", within a beaded, moulded ebonised frame; 20th century School - side profile of a boy with a gentleman smoking, black and white etching, 3" x 2.25" (2)
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