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Preisdatenbank abonnierenVictor Pasmore (1908-1998) Il Labirinto della Psiche (Lynton G40)Etching with aquatint printed in colours, 1986, initialled and dated in pencil, numbered from the edition of 90, printed by Vigna Antoniniana Stamperia d'arte, Rome, with their blindstamp, co-published by Marlborough Fine Art, London, and 2RC Edizioni d'arte, Rome, with the 2RC blindstamp, on Fabriano wove paper, with full margins, sheet 1035 x 1610mm (40 3/4 x 63 3/8in)
Rembrandt Harmensz. van Rijn (1606-1669)Christ healing the Sick: 'The Hundred Guilder Print'Etching with drypoint and engraving, circa 1648, but a later impression on cream laid paper without watermark, before Captain Baillie's rework but with substantial wear in the plate, thread margins, tipped onto paper supper at left corners, sheet 284 x 397 mm (11 1/4 x 15 5/8 in) (unframed)Literature:Bartsch 74; New Hollstein 239 ii/iv
Roy Lichtenstein (1923-1997)Illustration for 'Une Fenêtre ouverte sur Chicago', from La Nouvelle Chute de l'Amérique (Corlett 271)Etching with aquatint printed in colours, 1992, initialled in pencil, numbered from the edition of 80, as included in 'La Nouvelle Chute de l'Amérique', printed by Atelier Dupont-Visat, Atelier Dupont-Visat, l'Inéditeur, published by Les Editions du Solstice, Paris, on Arches paper, with full margins, sheet 481 x 353mm (18 7/8 x 14in)
Rembrandt Harmensz. van Rijn (1606-1669)Self Portrait in a Velvet Cap with PlumeEtching, 1638, but a later impression of New Hollstein's third state (of four) before the signature was redrawn, on laid paper with partial watermark, some signs of careful restoration to upper corners, platemark 135 x 105 mm (5 1/4 x 4 1/8 in), sheet 139 x 110 mm (5 1/2 x 4 1/4 in) (unframed)Literature:Bartsch 20; New Hollstein 170 iii/iv
Salvador Dalí (1904-1989)Le Jugement de Paris, from Suite Mythologique Nouvelle (Field 71-8F; M&L 485a)Drypoint with etching and pochoir in colours, 1971, signed and inscribed 'EA' in pencil, aside from the edition of 150, printed by Ateliers Rigal, published by Vision Nouvelle, on BFK Rives wove paper, with full margins, sheet 756 x 565mm (29 3/4 x 22in)
Pablo Picasso (1881-1973)Modèle nu et sculptures (Bloch 185)Etching, 1933, signed in pencil, from the edition of 250, as included in La Suite Vollard, published by Ambrose Vollard, Paris, on Montval laid paper, with the Picasso watermark, with full margins, sheet 445 x 338mm (17 1/2 x 13 1/4in)
Joan Miró (1893-1983)Untitled, from La Bague d'Aurore (Dupin 138; Cramer 45)Etching with aquatint printed in colours, 1958, signed in pencil, numbered from the edition of 60, printed by Atelier Crommelynck, published by Louis Broder, Paris, on BFK Rives paper, with full margins, sheet 376 x 282mm (14 1/2 x 11 1/8in)
Marc Chagall (1887-1985)Jacob's Ladder, from The Bible (Cramer 30)Etching hand-finished with watercolour, 1958, initialled in pencil, numbered from the edition of 100, printed by Raymond Haasen, published by Tériade Éditeur, Paris, on Arches paper, with full margins, sheet 440 x 330mm (17 1/4 x 13in)
Rembrandt Harmensz. van Rijn (1606-1669)The Star of the Kings: A Night PieceEtching with drypoint, circa 1652, but a later impression of New Hollstein's third or fourth state (of four), on coarse laid paper with much wear in the plate and some blooming, partial thread margins visible in sections to the lower edge, otherwise trimmed to or within the platemark, sheet 94 x 140 mm (3 5/8 x 5 1/2 in) (unframed) Literature:Bartsch 113; New Hollstein 263
Rembrandt Harmensz. van Rijn (1606-1669)Studies of the Head of Saskia and OthersEtching, 1636, but a later probably 18th century impression of New Hollstein's first state (of two), before any rework printing with plate tone on cream laid paper without watermark, thread margin to lower edge but otherwise trimmed to or just within the platemark, sheet 153 x 127 mm (6 x 5 in) (unframed) Literature:Bartsch 365; New Hollstein 157 i/ii
Howard Hodgkin (1932-2017)Dawn (Heenk 106)Lift-ground etching with aquatint printed in colours, extensively hand-coloured in acrylic, 2000-02, initialled, inscribed 'A.P.' and dated in pencil, an artist’s proof aside from the edition of 60, printed by Jack Shirreff at 107 Workshop, Wiltshire, published by Alan Cristea Gallery, London, on wove paper, the full sheet printed to the edges, sheet 265 x 323mm (10 1/4 x 12 1/2in)
Henri Matisse (1869-1954) after.Odalisque sur la Terrasse (Ginestet et Pouillon E633)Etching with aquatint printed in colours, 1922, signed in black ink, numbered from the edition of 200, published by Galerie Bernheim-Jeune, Paris, on Arches paper, with full margins, sheet 625 x 860mm (24 5/8 x 33 3/4in)
Frank Auerbach (b.1931)Leon Kossoff, from Six Etchings of Heads (Hartley 11) Etching, 1980, signed, titled and dated in pencil, numbered from the edition of 50, printed by Terry Wilson of Palm Tree Studios, published by Marlborough Graphics Ltd., London, with the printer's blindstamp, on Arches paper, with full margins, sheet 404 x 342mm (15 7/8 x 13 1/2in)
Salvador Dalí (1904-1989)The Divine Back of Gala, from After 50 Years of Surrealism (Field 74-8B; M&L 669c)Etching with drypoint and pochoir in colours, 1974, signed in pencil, numbered from edition F of 195, printed by Atelier Rigal, Paris, published by Transworld Art, New York, with their blindstamp, and their inkstamp verso, and with the accompanying title-page, on BFK Rives wove paper, with full margins, sheet 653 x 502mm (25 1/2 x 19 3/4in)
Pablo Picasso (1881-1973)Femme Nue Se Couronnant de Fleurs, from the Suite Vollard (Bloch 135)Etching, 1930, signed in pencil, the total edition was 303, published by Ambroise Vollard, Paris, on Montval laid paper, with the Picasso watermark, with full margins, sheet 445 x 334mm (17 1/2 x 13 1/8in)
Rembrandt Harmensz. van Rijn (1606-1669)Saint Jerome in a dark ChamberEtching, burin and drypoint, 1642, but a later impression of New Hollstein's final state (of 3), a good impression but with signs of wear in the densely cross hatched areas, on laid paper without watermark, platemark 152 x 172 mm (6 x 6 3/4 in), sheet 170 x 195 mm (6 3/4 x 7 5/8 in) (unframed)Literature:Bartsch; New Hollstein 212 iii/iii
Pablo Picasso (1881-1973)Flûtiste et Jeune Fille au Tambourin, (Bloch 213)Etching, 1934, signed in pencil, the total edition was 303, as included in La Suite Vollard, published by Ambroise Vollard, Paris, on Montval laid paper, with the Picasso watermark, with full margins, sheet 427 x 339mm (16 7/8 x 13 3/8in)
Pablo Picasso (1881-1973)Modèle et Grande Sculpture de Dos, from La Suite Vollard (Bloch 186)Etching, 1933, signed in pencil, from the total edition of 310, printed by Lacourière, published by Ambroise Vollard, Paris, on Montval laid paper with the Vollard watermark, with full margins, 445 x 340mm (17 1/2 x 13 3/8in)
Pablo Picasso (1881-1973)Plate 11, from Le Cocu Magnifique (Bloch 1254; Cramer 140)Etching with drypoint, 1966, signed in pencil, numbered from the edition of 30, printed and published by Atelier Crommelynck, Paris, on Auvergne Richard-de-Bas wove paper, with full margins, sheet 370 x 478mm (14 1/2 x 18 3/4in)
Pablo Picasso (1881-1973)Dormeuse et Sculptures (Bloch 258)Etching, 1933, signed in pencil, one of fifteen unnumbered artist's proofs aside from the edition of 50, published in 1961 by Galerie Louise Leiris, Paris, on Arches laid paper, with full margins, sheet 412 x 318mm (16 1/4 x 12 1/2in)
Eileen Alice Soper (1905-90), The Race, drypoint etching signed in pencil by the artist, 12cm x 19cm (Please note condition does not form part of the catalogue description. We strongly advise viewing to satisfy yourself as to condition. If you are unable to view and a condition report is not already available, please request one and it will be provided in writing).
James Gillray (1757-1815), Homer singing his verses to the Greeks, aquatint etching, published 1797 by Humphry, 27cm x 34cm; also Thomas Rowlandson, The huntsman rising, aquatint etching, 16cm x 23cm; and Henry Alken, Illustrations to popular songs, published by Thomas McLean, 22.5cm x 28cm (3) (Please note condition does not form part of the catalogue description. We strongly advise viewing to satisfy yourself as to condition. If you are unable to view and a condition report is not already available, please request one and it will be provided in writing).
A British 1796 Pattern Heavy Cavalry Officer's Dress Sword, the 83cm double edge tapering steel blade with a central narrow fuller to each side, faintly etched with Royal coat of arms, crossed standards, foliage and OSBORN WARRANTED within a scroll, the gilt brass stirrup hilt with boat shape guard, ribbed wood grip and baluster pommel, lacks scabbard, 101cm; an Ornamental Sword, with plain 75cm double edge steel blade, bronze hilt with recurving crossguard and loop guard bar, ribbed wood grip and plain pommel, lacks scabbard, 91.5cm (2)Cavalry sword with very dark blade and faint etching. Grip lacks wire binding. Wear to gilding .
Pauline Bradley (b.1944) Alison, artist proof, signed and dated 91 lower right in pencil, etching, 23.5cm x 18.9cm (PL), frame 39cm x 31.5cm, along with 'Vu in the Shade', Var I, signed and dated 2015 lower right, numbered 1/4, etching and lithograph by the same hand, 19cm x14cm (PL), frame 30.5cm x 25.5cm (2)
ARR Rowena Pearce (Contemporary) Water in Tumult, initialed in pencil lower left, dated 1989 on the back, monoprint with oil, 36cm x 34.8cm (SH), frame 53.6cm x 57.8cm, together with Rachel Kantaris (Australian, b.1967) Lambada La Paz, signed lower right in pencil, numbered 12/12, etching, 24cm x 55.7cm (PL), frame 49cm x 79.7cm (2)
ARR John Emanuel (British, 1930-2024) Nude Study, etching in colours, 40cm x 26.5cm, 65cm x 51cm frameProvenance: private collection, purchased from John Boulton Fine Art Condition:The print is a work on paper, framed under glazing- not examined external to the frame. The sheet appears in good order, no obvious tears, creasing or losses. There is some very minor cockling. The colours are good and appear stable. There is some mould spores on the mount which does not appear to have extended into the main area of the image. Minor wear and tear to the frame.
AFTER JOHN BRUNSDON "Walberswick" limited edition coloured etching, No'd 10/150, signed, titled and No'd in pencil to the lower margin, 26 cm x 63 cm together with AFTER JOHN BRUNSDON "Stradbroke Church" limited edition coloured engraving No'd 38/125, signed, titled and No'd in pencil to the lower margin, 78 cm x 55 cm (2) CONDITION REPORTS "Walberswick" - glass is in need of a clean. There is some foxing/insect damage to the top corners of the etching. Frame is a bit battered, some gapping at the bottom. "Stradbroke Church" - glass is in need of a good clean. The print itself has a very small amount of browning on the top left hand corner. Frame has knocks and bumps. Otherwise general wear and tear conducive with age and use. AFTER because they are effectively prints and probably not done by John Brunsdon himself even though he has titled, numbered and signed them in pencil himself as he hasn't printed them himself, therefore AFTER and not BY (although the original work would have been by him)
AFTER JOHN BRUNSDON "Farm", limited edition coloured etching No'd 16/100, signed, titled and No'd in pencil to the lower margin, 25 cm x 32 cm together with AFTER JOHN BRUNSDON "Mullion Cove" limited edition coloured engraving No'd 1/50, signed, titled and No'd in pencil to the lower margin, 35.5 cm x 50 cm and AFTER JOHN BRUNSDON "View from the Campanile" limited edition coloured engraving No'd 65/150, signed, titled and No'd in pencil to the lower margin, 78 cm x 56 cm
AFTER JOHN BRUNSDON "Pastoral scene" limited edition colour print No'd 106/150, signed, titled and No'd to the lower margin, 43 cm x 49 cm together with AFTER JOHN BRUNSDON "Tangled grasses", colour etching, artist's proof No'd 1/15, signed, titled and No'd in pencil to the lower margin, 78 cm x 54.5 cm (2) CONDITION REPORTS "Pastoral scene" the mounts have some cuts to the edge of the corners presumably where cut when being made. There is a bit of damage to the frame. The print itself however has general wear and tear conducive with age and use. "Tangled grasses" print has general wear and tear, there is a small mark right at the very bottom. Frame has some gapping and knocks etc - see images for more details
Fine Print of the Year: An Annual Review of Contemporary Etching and Engraving 1923-1928, 4to, Halton & Truscott, Smith Ltd; together with an almost complete run of The Print Collectors Quarterly, from 1921 to 1935; The Print Collector Quarterly Complete Index 1911-1950; and Print Quarterly December 1995, one box.
A selection of hardback books relating to etching, titles including: Salaman (Malcolm C.), The Etchings of Sir Francis Seymour Hayden, folio, quarter calf, Halton and Truscott Smith Ltd., 1923; Black (Jonathan), C. R. W. Nevinson: The Complete Prints, large 4to., cloth, Lund Humphries, 2014; Dodgson (Campbell), A Catalogue of Etchings by Augustus John 1901-1914, large 4to., cloth, Charles Chenil and Co., Ltd., 1920; Hardie (Martin), The Etched Work of W. Lee-Hankey R.E. from 1904-1920, large 4to., cloth, limited edition no. 122/350, L. H. Lefevre & Son, n.d.; and others. (8)
Bernard Kay (1927-2021)'Interior at Poitiers', trial proof, etching and aquatint, signed to the lower right, unframed, 34cm x 48.5cm; together with copper plate for the print, 34.5cm x 49cm and Épreuve d'artiste (Artist's proof), signed and dated '54 to the lower right, 47.5cm x 55cm, with corresponding copper plate, 33.5cm x 31.5cm (4) At present, there is no condition report prepared for this lot, this in no way indicates a good condition, please contact the saleroom for a condition report.
Michael Rees (b.1962)'Fisherman's family', crayon sketch, dated 89, signed in pencil lower left, 13cm x 22cm, another by the same artist 'Study of a figure', watercolour, dated 1996, signed in pencil lower left, 21cm x 15cm and one other also by the same artist 'Man against blue', etching and aquatint, dated 99, signed in pencil lower left, 16.5cm x 22cm (3) Provenance: From the collection of Professor John Chambers. At present, there is no condition report prepared for this lot, this in no way indicates a good condition, please contact the saleroom for a condition report.
Stanley William Hayter (1901-1988)'Le Couple', etching, limited edition 9/200, signed and dated '52 to the lower right of the margin, with 'ARC' watermark, 56cm x 38cm overall Unidentifiable foreign objects behind the glass. Fabric mount with time/UV fade. Frame with signs of wear consistent with age and use.
James Lewis-Stant (1905-1964) 'The Streets of Saint Ives', a folio of six etchings produced by the artist in 1952, this being number ten in the edition of fifty, titled 'Fish Street', 'Barnoon Hill', 'From the Slipway', 'Bethesda Hill', 'Porthmeor Square', 'The Oldest House', unframed, each etching signed in pencil, 23cm x 18cm (6) At present, there is no condition report prepared for this lot, this in no way indicates a good condition, please contact the saleroom for a condition report.
Bernard Kay (1927-2021)'Stonehenge', etching and aquatint, proof, signed in pencil lower right, unframed, 46.5cm x 58cm; together with corresponding copper plate, 33cm x 46cm (2) With overall wear, marks, signs this has not been framed. Wear to the edge could easily be concealed when framed. Slight discolouration/dirt in places, otherwise seems ok. Plate with signs of wear consistent with age and use, as expected. Plate with areas of discolouration.
Bernard Kay (1927-2021) various nude pencil studies, on tinted ingres paper, within a spiral bound sketch book, the first study dated 18.12.60; together with 'Chartres', etching and aquatint, artist's proof, signed to the lower right, with personal message 'For Dear Mam, All good wishes for Christmas & New Year with love ever - Bernard', 12.5cm x 9cm; an abstract etching, signed and dated '54 to the lower right, with personal message 'To My Dear Mam + Dad, With Love and Best Wishes for Christmas and The New Year. Bernard. PARIS. 14.12.54.'; a pencil study of Stonehenge, unsigned, 20.5cm x 25.5cm; a pencil and pen study of a church interior, unsigned, 21cm x 30cm and a watercolour study of various figures, unsigned (6) At present, there is no condition report prepared for this lot, this in no way indicates a good condition, please contact the saleroom for a condition report.
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