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78475 Los(e)/Seite
Los 1
Architecture.- Hollar (Wenceslaus) (A Chalice), after a finely detailed drawing by Andrea Mantegna in the collection of the Earl of Arundel, etching, 465 x 240mm., narrow margins, upper three-quarters laid at edges onto a loose album leaf, horizontal fold, with a slight split, above lower quarter with an area of loss to the left side, not affecting image or title, two short tears and light creasing in this section, a surface abrasion, spotting and surface dirt, 1640; (The Tower St Rombaut's, Mechelen), detailed elevation of the 13th century structure, without background, etching, two plates joined, 740 x 155mm., laid down, old horizontal folds, slight browning and spotting, a few light surface abrasions, not affecting the engraved area, surface dust, Antwerp, 1649; with an early 19th century engraved view of Harefield Palace and a pen and ink drawing of a monastery interior (4).
Los 1
Callot (Jacques) The Benediction (The Holy Family at Table), etching, 190 x 170mm., margins unevenly trimmed, but well outside platemark, slight surface abrasions, very faint horizontal creases, a few very small pin-holes, hinged into mount, (Lieure 595), Nancy, before Silvestre's address, (1628); Carro d'Amore, a processional float for the visit to Florence of the Prince of Urbino, designed by Giulio Parigi in the form of a cloud transporting nymphs and cupids, from the series Guerra di Belezza, etching, 150 x 228mm., descriptive title, with date, in banderole, upper left, trimmed just on the platemark, a crease before printing, surface dirt and minor abrasions, a small loss in an unprinted area, repaired, Florence, 1616 (2).
Los 1
Rembrandt Harmensz. van Rijn. Landscape with a Cow, etching with drypoint, 102 x 128mm., on laid paper, with margins, a faint collector's stamp (?VR) on the reverse, slight creasing, surface dirt, small losses to top and bottom right corners, both outside the platemark, (Bartsch 237), Amsterdam, c.1650, but a later impression; (Landscape with a Cottage and a Large Tree), a portion of the background, only, after the original, etching, 65 x 130mm., artist's signature in the plate, reversed, surface dirt, slight creasing, abraded area on the reverse, just breaking through the surface, (c.f. Bartsch 226) (2).
Los 1
Teniers (David) after. A Scene Outside a Village Inn, etching, on wove paper, 160 x 225mm., within a wide decorative border on a separately engraved plate, 250 x 310mm., trimmed to outer platemark, surface dirt and slight spotting, 18th century; with a group of 17 plates of Christian martyrs, by Gaspar and Frederick Bouttats, Adrien Lommelin and others, from Kerckelycke Historie van de Gheheele Wereldt, by Cornelius Hazart, including 3 of 4 titles, c.1670; also with 4 early 19th century issues of pastoral etchings by Jan Both (22).
Los 1
Piranesi (Giovanni Battista) Veduta interna della Villa di Mecanate, etching, 475 x 625mm., marginal defects, one repaired tear into image, along central crease, first Paris edition, (H.73 II), early 19th century ~ Troyen (J.) (Christ disputing with the doctors), after Spaniolet, engraving, 210 x 300mm., marginal browning, some handling creases, c.1770 ~ Bourlier (M.A.) Study of a Head for the Picture of Christ Giving Sight to the Blind, after Richter, stipple-engraving, 570 x 425mm., trimmed within the platemark, surface dirt, one large repaired tear, other marginal defects, published by the artist, 1813 ~ Bowyer (R. publisher) Ceremony of Te Deum by the Allied Armies on the Square of Louis XV. at Paris, original hand-coloured aquatint, 340 x 585mm., central fold, surface dust, marginal tears, other minor defects, 1815 (4).
Los 1
Turner (J.M.W. R.A.) Liber Studiorum, 42 published plates only, of 71, including Mont St. Gothard, Penbury Mill, London from Greenwich, Junction of Severn and Wye, and Source of the Arveron, by C. Turner, W. Say, R. Dunkarton, and others, including 8 of the 11 plates engraved by J.M.W. Turner himself, etchings with mezzotint and aquatint, printed in a range of sepia and brown inks, each c.208 x 290mm., various states including at least two first states, most second or third states, some intermediate states not conforming to Finberg, includes many very good, richly inked, impressions, Dunstanborough Castle with the collector's signature, in ink, of Mary Constance Clarke (Lugt 449), and a collector's ink stamp (?of Charles Stokes) (c.f. Lugt 2758), Juvenile Tricks with the collector's violet ink stamp of James Reiss (Lugt 1522), and Hind Head Hill with the dealer's ink stamp of C.W. Dowdeswell, 36 Chancery Lane (Lugt 690), all stamps and the signature on versos, six bearing the Turner sale blind-stamp, two with a small hole within the image, one with a short tear into the title area, not affecting lettering, several with spotting, surface dirt, light damp-staining and other minor, mostly marginal, defects, most hinged into mounts, a few mounted at corners, one laid down, one duplicate, most published by the artist, a few by Charles Turner, 1807-1819; with 4 related prints including Procris and Cephalus by Thomas Lupton, outline etching, printed with plate tone, c.1863, and The Deluge, unpublished, the printing plate bought by Colnaghi in the Turner sale, mezzotint, printed in sepia, on laid india paper, later 19th century ~ Short (Sir Frank, R.A., P.R.E.) 5 plates after the Liber Studiorum, including 2 images previously unpublished by Turner, mezzotints, printed in bistre, from 210 x 270mm. to 225 x 300mm., all signed in pencil, lower right, all hinged into mounts, occasional spotting, R. Dunthorne (the unpublished plates by the engraver), 1886-1902 (51).
Los 1
Gillray, (James), after. Punch cures the Gout, -the Colic, -and the Tisic, the title spoken by the three figures seated around a bowl of punch, from the 4to edition, original hand-coloured etching, 220 x 285mm., surface dirt, a few short tears at edges, three just through the platemark, but well outside the image, other marginal defects, (c.f. B.M. Satires 9449), John Miller and Edinburgh, W. Blackwood, (1818).
Los 1
Martinet (publisher) La Collation Anglaise, ou l'occupation favorite d'un Peuple Penseur, caricature of the eating habits of an Englishman, etching, with hand-colouring, 245 x 335mm., unexamined out of frame, slight browning and surface dirt, small central hole at top, outside platemark, Paris, c.1815; with one other caricature of the English appetite in Paris, in uniform frames (2).
Los 1
Orde Powlett (Thomas, Lord Bolton) (A Caricature of 2 Figures Going to Market), etching, 185 x 160mm., signed T. Orde, and dated, in the plate, surface dirt, (Cambridge), 1768; with a small, mixed, group of figure studies and landscapes by or after Boucher, Deuchar (3 on 1 sheet), Guercino and others, etchings and engravings, also with two pen and ink drawings after Durer woodcuts, various sizes and conditions, 17th to 19th centuries (12).
Los 1
Pond (Arthur) Three Caricatures after Pietro Leoni Ghezzi, one portrait of a gentleman and two interiors, etchings, each c.270 x 360mm., or the reverse, slight browning, some spotting; with one caricature after Guercino, soft-ground etching, 320 x 220 mm., printed in bistre, mid 18th century (4).
Los 1
Barry (Francis) Santa Maria della Salute, Venice, etching, printed in tones and finished by hand, 545 x 390mm., signed in pencil, lower right, a few light creases, framed and glazed ~ Haden (Sir Francis Seymour) (Cotton Pickers), etching with drypoint, printed in bistre, with plate tone, 140 x 195mm., signed in pencil, lower right, framed and glazed ~ Appleby (Wilfred) Glasgow University, etching with drypoint, 225 x 350mm., signed in pencil, lower right, framed and glazed ~ Miller (Fred) (The Virgin Mary), mezzotint, printed in colours, 265 x 200mm., signed in pencil, lower right, H. Virtue & Co., framed and glazed ~ Rysselberghe (Theo von) (A Woman being Silenced), lithograph, 215 x 270mm., artist's monogram in the print, framed and glazed ~ Pennell (B.) Early Evening, wood-engraving, 205 x 150mm., signed and dated, in pencil, lower right, numbered 20/50, lower left, framed and glazed, 1984 ~ Shirley Smith (Richard) (A Weeping Girl), wood-engraving, 90 x 65mm., signed in pencil, below, numbered xii/100, framed and glazed ~ Lawrence (John) Nothingmas Day, wood-engraving, with hand-colouring, 390 x 255mm., signed and dated, in pencil, lower right, artist's proof, glazed but unframed, 1984 (8).
Los 1
Baskin (Leonard) Baskin's Iris; Thistle and Yellow Flower; Red Flower; An Iris for Lisa, 4 from an unofficial series of 7 flowers, etchings, each c.450 x 295mm., An Iris for Lisa before aquatint added, Thistle and Yellow Flower printed in pale olive and yellow, with another impression the same, and a third impression in black, Red Flower printed in green and red, with another impression in black, all signed in pencil, lower right, (F. & O'S.578, 580, 583 and 584, respectively), 1970; Lily, etching, 450 x 300mm., signed in pencil, lower right, (not in F. & O'S.); A Wreath for Sylvia, etching, 295 x 450, with another impression, both signed in pencil, lower right, numbered vii/xv and viii/xv, (not in F. & O'S.), 1967; Deer Isle, etching, 225 x 310mm., signed and titled in pencil, numbered vi/xv, (F. & O'S.516), c.1968; Ram's Skull, from the Hippolytos series, 2 impressions, etchings, 150 x 225mm., both signed in pencil, lower right, numbered vi/xv and vii/xv, (F. & O'S.525), 1969; Albatross, from the Moby Dick Suite, lithograph, 380 x 245mm., signed in pencil, lower right, artist's proof, trimmed to top and right edge of image, (F. & O'S.569), 1970; with 2 Gehenna Press prospectuses and 4 copies of a London exhibition poster (21).
Los 1
Baskin (Leonard) Chimera, drypoint, 490 x 640mm., signed and titled in pencil, below, artist's proof, (F. & O'S.729), 1966; Death Bearing Angel, etching, 450 x 300mm., signed and titled in pencil, below, artist's proof, (F. & O'S.732), 1968; Tyrant (Body and Head), etching, 600 x 450mm., signed and titled in pencil, within the image, trimmed just within platemark, (F. & O'S.735), 1969; Portrayal (The Humpback), 2 numbered impressions from an edition of 15, etchings, 450 x 295mm., both signed in pencil, lower right, (F. & O'S.737), 1969; Oedipus at Collonus, lithograph, 790 x 560mm., signed and titled in pencil, below, artist's proof, (not in F. & O'S. in this form); with 2 other unpublished proofs (8).
Los 1
Baskin (Leonard) Red Cloud, Sioux, colour lithograph, 860 x 610mm., signed in pencil, lower right, artist's proof, light surface dust, (F. & O'S.653), 1975; Ernst Ludwig Kirchner, monotype printed in green and blue, 150 x 150mm., signed and dated in pencil, below, numbered 2/3, slight surface dust, (not in F. & O'S.), 1982; Medea, colour lithograph, 400 x 310mm., signed in pencil, lower right, numbered 10/30, a vertical crease, (F. & O'S.683), 1982; Aaron, from Titus Andronicus, etching, 320 x 200mm., signed in pencil, lower right, artist's proof, (F. & O'S.586), Gehenna Press, 1970 (4).
Los 1
Lee-Hankey (William, R.E.) (Mother and Child), etching with drypoint, 225 x 145mm., a richly inked impression, printed with selective plate tone, signed and inscribed, inv., del. et imp., in pencil, lower centre, artist's blind-stamp, lower left, browning and a faint damp-stain in the margins, early 20th century.
Los 1
Walcot (William, R.E.) (The Sacred Fair), Egyptian Temple scene, etching with drypoint, 160 x 225mm., unexamined out of frame, printed with plate tone, signed in pencil, lower right, framed and glazed, with 8 other early 20th century prints, by Cyril Davis, E.M. Synge, D.Y. Cameron, C.H. Baskett and others, woodcuts and etchings, some with drypoint, and aquatint, all but one signed in pencil, lower right, various sizes, generally good condition, one plate slightly spotted, one slightly damp-stained, two in frames (9).
Los 1
Jacque (Maurice) Barbizon, Eglise de Chailly, original hand-coloured etching with aquatint, 210 x 265mm., signed and titled, in pencil, below, with wide margins, taped into mount along top and bottom sheet edges, later 19th century; with a small, mixed, quantity of continental and British landscapes, portraits and other subjects, by or after Frank Potter, Max Slevogt, Charles Turner, William Haygarth and others, etchings, engravings and mezzotints, various sizes and conditions, some minor defects, 18th to early 20th centuries (25).
Los 1
A MIXED COLLECTION OF PRINTS, including 'The South Prospect of the Cathedral and Metropoliton Christ Church of Canterbury' by Wenceslaus Hollar after Johnson, 'Interested Love' by Richard Newton, two etchings by Richard Livesay after Hogarth, an etching of a Gargoyle by Knighton Hammond, and a drypoint etching of a Bridge in Venice, (11).
Los 1
AFTER THOMAS STOTHARD, RA (1755-1834) PILGRIMAGE TO CANTERBURY Line engraving with etching by L. Schiavonetti and others, with later hand colouring, published by W. H. Worthington, 1817 26.5 x 93.5cm. ++ Image fair (a few minor damp faults and some bloom); margins damp damaged. Good rosewood frame.
Los 1
WILLIAM LIONEL WYLLIE, RA (1851-1931) LONDON BRIDGE AND ADELAIDE BUILDING Etching with drypoint, signed in pencil, original printed label on new backboard 20 x 40cm. ++ Faint matt burn at left edge of image. Slight rubbing along platemark at lower edge. A little bloom. Not laid down. Signature fine.
Los 1
HEDLEY FITTON (1857-1929) RUE BARBETTE, ORLEANS (?) Etching, signed in pencil 35 x 19.5cm. with three etchings by FREDA MARSTON ('Snowdon'); AXEL H. HAIG (Wedding in Church Interior); and SYDNEY TUSHINGHAM (London Square), each signed, various sizes. (4) ++ Each with slight light staining. Original.
Los 1
Commonplace book relating to a wide variety of subjects including recipes and general information, manuscript, in several hands, a few entries in German, c. 573pp. (including 7pp. of index), pen and ink illustrations of machines and industrial processes (including a churning machine), slightly browned, original half calf, corners bumped, spine repaired, 8th February 1787-23rd February 1834. ***Includes: "Origin of Honey Moon Bells"; "Making up Gin"; "A treatise of Dyeing Turkey Red"; preserving meat; "Martello Towers"; "Suicides"; "Livery Servants not entitled to keep their Clothes"; "Change of Climate"; "Method of Etching in Aqua Tinta"; "Excellent Tooth Tincture"; "Receipt for a Sore Throat"; "Method of preventing Vomiting in a Carriage or on the Sea"; "Profits of London Filth"; "A Cheap & Efficient method for destroying Rats and Mice"; "Receipt for making of Potted Cheese"; "Chemical Explosions"; "A Cure of the Yellow Fever"; "Political measures in England 1833-4"; "The Game of Papillon or Butterfly"; "A machine for washing goods"; "To make Scotch Bread"; "Opium Tincture"; "Experiments on the sugar extracted from the Beet Root"; "A Baltimore Clipper rapid sailing"; "Crossing Turnpike Roads"; "Observations containd in a Work titled Travels in Africa, Egypt & Syria... by W.G. Browne"; "Corn Law Tricks."
![Pre-History.- Alix (Pierre-Michel) [The Magic Lantern], a pair of young lovers (?Cupid and Psyche) are shown a projected im](http://lot-images.atgmedia.com/SR/1574/898915/144-8-1574_468x382.jpg)
Los 1
-. Woodward (George Moutard) A New Phantasmagoria for John Bull!!, Napoleon projects an image of peace from a magic lantern, etching, 270 x 320mm., trimmed close at top, [B.M.Satires Cat.10366], Ackermann, 1805 ~ [Doyle (John)] Political Showbox, a peep-show operated by the Duke of Wellington, lithograph, 280 x 365mm., light spotting, McLean, 1840 (2).
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78475 Los(e)/Seite