Anders Zorn (Swedish, 1860-1920). Etching on paper titled "Dance at Gopsmor" depicting a fiddler playing a violin in a dark room with a suggestion of other figures presumably dancing on the left side, 1906. 2nd state of printing. Pencil signed along the lower right.References:Karl Asplund, "Zorn's Engraved Work, Vol. 2" (Alan Wofsy Fine Arts: San Francisco, 1990), page 306, plate 197.Loys Delteil, "Anders Zorn" (Le Peintre-Graveur Illustre, Paris, 1909), plate 192.Image; height: 11 3/4 in x width: 7 3/4 in. Sight; height: 12 1/2 in x width: 8 1/4 in. Framed; height: 19 in x width: 14 1/4 in x depth: 1/2 in.Condition:The sheet is toned. There are no visible tears, losses, or restorations. Housed under a non-acidic mat. Framed under glass; light wear to the frame. Not inspected out of frame.
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Anders Zorn (Swedish, 1860-1920). Etching on paper titled "S. Loeb" depicting the top half of an older man with a moustache and beard intensely staring and wearing a heavy coat and tie, 1897. Either a 3rd or 4th state printing. Pencil signed along the lower right. Signed and dated in plate along the lower right.References:Karl Asplund, "Zorn's Engraved Work, Vol. 2" (Alan Wofsy Fine Arts: San Francisco, 1990), page 186, plate 115.Loys Delteil, "Anders Zorn" (Le Peintre-Graveur Illustre, Paris, 1909), plate 113.Image; height: 8 1/2 in x width: 5 3/4 in. Sight; height: 10 1/4 in x width: 7 1/4 in. Framed; height: 18 1/4 in x width: 14 1/2 in x depth: 1/2 in.Condition:The sheet is toned. There are no visible tears, losses, or restorations. Housed under a non-acidic mat. Framed under glass; light wear to the frame. Not inspected out of frame.
Henri Vion (French, 1854-1891) after Jean-Louis-Ernest Meissonier (French, 1815-1891). Etching on laid paper titled "The Critics of Painting" depicting men in an artist's studio critiquing his work, 1860. After a work by Meissonier. Signed in plate along the lower left; Meisonnier's signature reproduced along the lower right. The print is from Albert Wolff "Cent Chefs-d'Oeuvre: The Choice of French Private Galleries." Paris: Georges Petit and Ludovic Bashet, 1883. Distributed by Knoedler & Co., New York.Height: 17 3/4 in x width: 12 1/2 in.Condition:The sheet is toned. There is a small tear along the lower left edge. Some light wear along the edges. The number 18 is written in graphite along the upper right. The work is not framed.
Eugene Gaujean (French, 1850-1900) after Charles-Francois Daubigny (French, 1817-1878). Etching on laid paper after an 1865 Daubigny painting titled "Banks of the Oise" depicting an idyllic riverside landscape. Signed in plate by Gaujean along the lower right. Daubigny signature and date in plate along the lower right of the image. The print is from Albert Wolff "Cent Chefs-d'Oeuvre: The Choice of French Private Galleries." Paris: Georges Petit and Ludovic Bashet, 1883. Distributed by Knoedler & Co., New York.Height: 12 1/2 in x width: 17 3/4 in.Condition:The sheet is lightly toned and there is a light undulation to the sheet. Wear along the edges. The number "49" is written in pencil along the upper right; "Portijois" is written in pencil along the lower right. Some acidic burn along the edges. Some soiling to the verso that does not affect the recto. Some small spots of foxing throughout. Not framed.
Charles Louis Kratke (French, 1848-1921) after Etienne Pierre Theodore Rousseau (French, 1812-1867). Etching on laid paper after a Theodore Rousseau painting titled "Evening" depicting an idyllic riverside landscape with a fisherman. Signed in plate by Kratke along the lower right. Th. Rousseau signature in plate along the lower left of the image. The print is from Albert Wolff "Cent Chefs-d'Oeuvre: The Choice of French Private Galleries." Paris: Georges Petit and Ludovic Bashet, 1883. Distributed by Knoedler & Co., New York.Height: 12 1/2 in x width: 17 3/4 in.Condition:No tears, losses, creases, or restorations. The sheet is lightly toned. Slight undulation to the sheet. Some light wear along the deckled edges. A few small spots of foxing. Some surface marks. Pencil number 70 written along the upper right corner. The work is not framed.
Anton Joseph Prenner (Austrian, 1683-1761) after Frans Verbeeck (Flemish, d. 1570), formerly attributed as after Pieter Bruegel the Elder (Flemish, 1526/30-1569). Etching on paper depicting witches preparing a potion. Plate 21 from the series "Theatrum Artis Pictoriae," published 1728. Inscribed in plate along the lower margins "Alt: 26 Lat: 35. UNC," 54C," and "Alten Prygel Pinx."Height: 6 1/4 in x width: 9 in.Condition:There are no major tears. The sheet is toned and there is wear and soiling to the verso and recto as well. There are two pieces of tape fixed along the left edge of the verso. The work is not framed.
El Anatsui (Ghanaian, born 1944)Grandma's Cloth Series, 1993 signed and dated 'EL/ 93' (lower left of panel 13); titled 'Grandma's/ cloth Series' (verso of panel 1); each panel numbered 1-14 left to right, in chronological order (verso)incised, scorched and acrylic paint on wood panel76 x 130 x 2cm (29 15/16 x 51 3/16 x 13/16in).(in 14 pieces)Footnotes:ProvenanceAcquired directly from the artist, 1993;A private collection.El Anatsui's wide body of work exemplifies an incorporation of traditional forms of art creation across Africa with contemporary motifs. Aiming to redress African history as it was understood, as it had mainly been communicated by European interpretations following colonisation, El researched linguistics and writing systems of his African heritage to inform works such as the present lot. This was an effort to reclaim his heritage identity.Created within the same year as his other Grandma's Cloth works, with the series spanning from the late 1980s to the early 1990s, El Anatsui uses wooden planks and incorporates uli and nsibidi symbols, etched into the wood. Indeed, the process of etching, incising and scorching was performed with modern tools such as blow torches and power saws, contrasting the everyday age-old material. Conceptually, the aggressive nature of moulding the wood is representative of the Western colonisation which fragmented Africa.Inspired by the vivacious graphics, historical significance, and identity that traditional Ghanaian Kente cloth imbues, the artist would eventually go on to expand the medium of his works to scrap pieces of metal, mimicking the action of weaving resonating with the creative process of Kente Cloth. From process to the end result, El Anatsui's work is heavily weighted in symbolism.For further information on this lot please visit Bonhams.com
![[Alken (Samuel)] The Race and the Road to Epsom, hand-coloured etching panorama, c.115 x 2388 mm overall, small abrasion mark](https://cdn.globalauctionplatform.com/c7d1e4a8-e70f-4942-9aff-b12a00b27313/1c29ec53-24d1-479b-88f0-b12a00b9ccc3/468x382.jpg)
[Alken (Samuel)] The Race and the Road to Epsom, hand-coloured etching panorama, c.115 x 2388 mm overall, small abrasion mark near foldline, not affecting image, original cloth, hand-coloured etching to upper cover, a little rubbed, housed in modern cloth chemise, [Abbey Life 596 (suggesting that the work is in the style of Leech); Bobins IV, 1299; Mellon/Snelgrove 65], oblong 8vo, Ackermann, 1851. *** Provenance: Le Vivier Library (sale, Christie's South Kensington, 30 October 2012, lot 109).
Alken (Henry) Panorama of a Fox Hunt, hand-coloured etched panorama with engraved title, c.97 x 2226 mm, 6 sheets on wove paper, joined, tear to title, occasional short marginal tear with neat repairs, light marginal soiling, original wooden cylinder with mounted hand-coloured soft-ground varnished etching, later base to cylinder, varnish rubbed and chipped with small loss, housed in modern drop-back box, [Bobins IV, 1298; Mellon/Snelgrove p.16 (example on a cylinder); Siltzer p.61], 8vo, R. Ackermann, 1828. *** Rare. A good example in the original cylindrical binding.The full title reads: 'H. Alken's Panorama of a Fox Hunt shewing a large scope of the Leicestershire, Rutlandshire and Lincolnshire counties: with all sorts of riders, good, bad, and indifferent'.
Alken (Henry) Going to Epsom Races: a Ludicrous Amusement consisting of Modern Costume, Characters, Dandies, Equipages and Horsemanship, first colour issue, continuous hand-coloured etching panorama, in 8 joined sections, lacking 190 mm section at beginning, overall c.60 x 4382 mm., on a spool turning into publisher's original wood drum, glazed hand-coloured racing print pasted to drum, a little rubbed and chipped, housed in later brown morocco box by Lakeside Press, bookplate inside lid, [Abbey Life 472; Bobins IV, 1294; Mellon/Snelgrove p.23; Siltzer p.58], Chicago, [1819]. *** Provenance: Bookplate of Joel Spitz inside upper cover of case, and with stamp on verso at beginning of panorama; sold at Christie's as Lot 144, 27 May 2015.The first issue is without aquatint and lacks many of the background figures and horse carriages introduced in the second issue, its greater simplicity being greatly appealing. Uncoloured versions of this issue were also available.
Sir Terry Frost R.A. (British, 1915-2003)Five in the Afternoon signed and dated 'Terry Frost 76' (lower right), also signed and dated 'Terry Frost 76' (lower centre), inscribed 'At five in the afternoon./It was exactly/five in the afternoon./Un niño trajo la/blanca sábana/a las cinco de la/tarde.' (left centre)watercolour, gouache, collage and charcoal on two sheets of paper58.5 x 85cm (23 1/16 x 33 7/16in).Footnotes:ProvenanceWith Sims Gallery, St Ives, where acquired by the present owner, circa 1990-1995Private Collection, U.K.LiteratureD. Lewis, Terry Frost, Scholar Press, Aldershot, 1994, illustrated in reversed layoutThe right hand side of the present lot is the original work for the etching and lithograph, Black For Lorca, 1991.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Fai Clough (20th Century School) 'Bridge view', etching, signed in pencil and dated 1983 to the margin lower right, 18.5cm x 24.5cm Overall display wear and scuffs to the frame. Some foxing and discolouration to the outer edges of the etching border by the mount, could be concealed if reframed. Otherwise seems ok.
Annette H**** (Contemporary) 'Christmas 2007', etching, numbered 1/2, signed in pencil lower right, 10cm x 14cm and one other similar piece by the same artist, numbered 1/7, signed and dated 2009 in pencil lower right, 9cm x 14cm (2) Overall display marks and some scuffs to the frames. Some pen marks to the back of one of the frames, otherwise seems ok.
Robert Barnes (b.1947) 'Midsummer I', etching and aquatint, numbered 71/100, signed in pencil lower right, 64cm x 49cm and one other by the same artist 'Midsummer III', etching and aquatint, numbered 71/100, signed in pencil lower right, 64cm x 49cm (2) Overall wear, marks and display scratches to the frame. Would benefit from a light overall clean.
Lewis Baumer (1870-1963) 'The Columbine', drypoint etching, signed in pencil to the mount lower right, 22.5cm x 19cm Provenance: With 'The Fine Art Society Ltd, 148 New Bond Street, London, W1' paper label to the reverse. This piece is not glazed and has some resulting wear and marks. Some foxing and scuffs. Minimal discolouration in places.
Lewis Baumer (1870-1963) 'The Dancer', drypoint etching, signed in pencil to the mount lower right, 34cm x 25cmProvenance: With 'The Fine Art Society Ltd, 148 New Bond Street, London, W1' paper label to the reverse. Some foxing and scuffs. Minimal discolouration in places. Staining to the outer edges of the mount.
Philip Greenwood (b.1943) 'Green vale', etching and aquatint, numbered 9/75, signed and dated 1973 in pencil lower right, 41cm x 47cm and one other by the same artist 'Winter grass', etching and aquatint, artist proof, signed and dated 1971 in pencil lower right, 41.5cm x 47cm (2) Overall minimal display wear and slight marks to the frames, otherwise seems ok.
Rowland Hilder (1905-1993) 'Early morning shadows', etching and aquatint, artist's proof I, signed in pencil in the margin lower right, 18cm x 25.5cm Minimal display scuffs and wear to the frame. Some very minor marks and dots to the mount. Minute foxing and tiny marks to the picture in place, which is very hard to see.
20th Century School 'Greylag goose', etching and aquatint, numbered 15/50, signed and titled in pencil lower right, 38cm x 57cm Overall wear, marks and scuffs. Water damage and stains to the outer edges which could be concealed if reframed. Minimal foxing in places. The perspex frame is heavily scratched.
Ian Fleming (1906-1994)'Thistles in the Sun', artist's proof, etching and aquatint, signed and dated 1976 in pencil lower right, 52cm x 61cm Minimal display marks and scuffs to the frame. Has dedication written in pencil to the lower centre border, beside the signature. Minimal foxing in places, most notably to the outer right hand and bottom border, otherwise seems ok.
Paul Delvaux (1897-1994): 'L'inscription' from the series 'Construction d’un temple en ruine a la deesse Vanade', etching, dated(19)73Work: 44,5 x 31,5 cm Frame: 77,3 x 65 cm 'Construction d'un temple en ruine a la deesse Vanade' is the result of a collaboration between the French writer Alain Robbe-Grillet, known as a representative of the Nouveau Roman, and the Belgian artist Paul Delvaux. With the printer, they worked for four years on this 'dialogue' between the word and the image.
![Jules De Bruycker (1870-1945): 'Le Vieux marche St. Jacques Gand', etching, [1911]Work: 61,5 x 50,8 cm Paper: ca. 64 x 52,5 c](https://cdn.globalauctionplatform.com/3c75dfbd-4feb-432d-b3e8-b13400b5c25c/e597011d-10b5-498b-830b-b13400db2d01/468x382.jpg)
Billy Al Bengston (American, 1934-2022). Etching on paper titled either "Composition 1" or "BAB 4" depicting a silhouette of a dog against an abstract background with large celestial-like bodies, 1988. From the "In Barcelona Suite (California Portfolio)," 1988-89. Pencil signed and dated along the lower center; numbered 14/75 along the lower left.Provenance: Brian Gross Fine Art, San Francisco, California; Private Minnesota Collection.Sight; height: 22 in x width: 30 in. Framed; height: 25 1/2 in x width: 33 1/2 in x depth: 1 1/4 in.Condition:The colors are bold and deep. There are no visible tears, losses, or creases. Along the lower margin there are minute white accretions. There is undulation to the sheet. Framed under plexiglass, not examined out of frame. No signs of restoration under UV light.
Ed Moses (American, 1926-2018). Etching on Guarro paper depicting the intersection of abstract lines, 1989. From the "In Barcelona Suite (California Portfolio)," 1988-89. Pencil signed and dated along the lower right; numbered 14/75 along the lower left.Provenance: Brian Gross Fine Art, San Francisco, California; Private Minnesota Collection.Height: 30 in x width: 22 in. Brian Gross Fine Art SF CACondition:The colors are bold and deep. There are no visible tears, creases, or losses. There is a minute spot of soiling in the margin of the upper left quadrant. There is also a minute spot of discoloration in the lower left quadrant. There are no signs of restoration under UV light.
Terence David La Noue (American, b. 1941). Etching, aquatint, woodcut, drypoint, and acrylic paint on paper titled "Talking Drums" depicting an abstract composition, partially in black and white and partially in a rainbow of bright colors, 1987. Pencil signed, dated, and numbered A.P. 2/2 along the lower center.Height: 36 in x width: 39 1/2 in.Condition:The colors are bold and deep. The sheet is slightly toned There are light creases throughout inherent to the material. The work is affixed with four plastic corner tabs to a non-acidic backing. The work is shrink-wrapped in plastic. Due to this, the verso has not been inspected.
Craig Kauffman (American, 1932-2010). Color etching on wove paper titled "CK-1" depicting two abstract cubes, 1988. From the "In Barcelona Suite (California Portfolio)," 1988-89. Pencil signed and dated along the lower right; numbered 14/75 along the lower left.Provenance: Brian Gross Fine Art, San Francisco, California; Private Minnesota Collection.Height: 22 in x width: 30 in. Brian Gross Fine Art SF CACondition:The colors are bold and bright. There are no visible tears, creases, or losses. There are no signs of restoration under UV light.
Marc Chagall (Russian/French, 1887-1985). Etching and aquatint from the series "Ce lui qui dit les choses sans rien dire (One who says things without saying anything)" published with poet Louis Aragon, 1975-76. Signed in pencil along the lower right. Published by Maeght Editeur, Paris. Printed on the front of a folded sheet, in which the poem "L'Apocalypse Selon Marc" is printed along the interior.Provenance: Private Connecticut Collection, 1991; Private Minnesota Collection.Reference: Cramer 99.Lot Essay:Chagall's paintings are characterized by their lyrical compositions, vibrant colors, and whimsical imagery drawn from his memories of his Jewish upbringing, Russian folklore, and the rural landscapes of his youth. His works often feature floating figures, airborne animals, and dreamy landscapes, imbuing his art with a sense of otherworldly beauty and magic.Throughout his prolific career, Chagall's art remained deeply personal yet universally resonant, transcending cultural and geographical boundaries. His groundbreaking use of color and form influenced generations of artists, while his ability to evoke emotion and evoke a sense of wonder captivated audiences worldwide. In addition to painting, Chagall also explored other mediums such as stained glass, ceramics, and tapestries, leaving a lasting impact on the fields of applied and decorative arts.Chagall's enduring legacy as a master of modern art is marked by his unwavering commitment to creativity, imagination, and the power of love and hope in the face of adversity. His ability to capture the human experience in all its complexity and beauty continues to inspire and enchant, reminding us of the transcendent power of art to illuminate the human spirit and transcend the limitations of time and space. Through his visionary artistry and his profound exploration of the mysteries of existence, Marc Chagall remains a towering figure in the pantheon of great artists.Sight; height: 18 1/2 in x width: 14 in. Framed; height: 27 1/4 in x width: 22 3/4 in x depth: 1 1/2 in.Condition:The colors are bold and bright. There are no tears, creases, or restorations. There is an undulation to the sheet throughout. Along the verso there are two areas of skimming/residual framer's tape. The work has been removed from its hinges and is currently unframed. The paper backing of the frame has been cut along three edges (not pictured). Frame with plexiglass.
Billy Al Bengston (American, 1934-2022). Etching with aquatint print on Rives BFK paper depicting a silhouette of a dog against a green and red background with abstracted celestial bodies, 1988. From the "In Barcelona Suite (California Portfolio)," 1988-89. Pencil signed and dated along the lower center; numbered 14/75 along the lower left.Provenance: Brian Gross Fine Art, San Francisco, California; Private Minnesota Collection.Height: 22 in x width: 30 in.Condition:The colors are bold and deep. There are no visible tears, major creases, or losses. There are no signs of restoration under UV light. There is a minute crease along the upper right corner. There is an extremely minute chip to the upper left corner; only noticeable upon close inspection.
Craig Kauffman (American, 1932-2010). Color etching on wove paper titled "CK-2" depicting three abstract cubes, 1988. From the "In Barcelona Suite (California Portfolio)," 1988-89. Pencil signed and dated along the lower right; numbered 14/75 along the lower left.Provenance: Brian Gross Fine Art, San Francisco, California; Private Minnesota Collection.Height: 30 in x width: 22 in. Brian Gross Fine Art SF CACondition:The colors are bold and deep. There are no visible tears, creases, or losses. There is a green discoloration along the side margin of the lower left quadrant. There is a minute scattering of discoloration throughout the corner of the upper left margin. There are no signs of restoration under UV light.
Marc Chagall (Russian/French, 1887-1985). Etching and aquatint from the series "Ce lui qui dit les choses sans rien dire (One who says things without saying anything)" published with poet Louis Aragon, 1975-76. Signed in pencil along the lower right. Published by Maeght Editeur, Paris.Provenance: Private Connecticut Collection, 1991; Private Minnesota Collection.Reference: Cramer 99.Lot Essay:Chagall's paintings are characterized by their lyrical compositions, vibrant colors, and whimsical imagery drawn from his memories of his Jewish upbringing, Russian folklore, and the rural landscapes of his youth. His works often feature floating figures, airborne animals, and dreamy landscapes, imbuing his art with a sense of otherworldly beauty and magic.Throughout his prolific career, Chagall's art remained deeply personal yet universally resonant, transcending cultural and geographical boundaries. His groundbreaking use of color and form influenced generations of artists, while his ability to evoke emotion and evoke a sense of wonder captivated audiences worldwide. In addition to painting, Chagall also explored other mediums such as stained glass, ceramics, and tapestries, leaving a lasting impact on the fields of applied and decorative arts.Chagall's enduring legacy as a master of modern art is marked by his unwavering commitment to creativity, imagination, and the power of love and hope in the face of adversity. His ability to capture the human experience in all its complexity and beauty continues to inspire and enchant, reminding us of the transcendent power of art to illuminate the human spirit and transcend the limitations of time and space. Through his visionary artistry and his profound exploration of the mysteries of existence, Marc Chagall remains a towering figure in the pantheon of great artists.Sight; height: 18 1/2 in x width: 14 in. Framed; height: 27 1/4 in x width: 22 3/4 in x depth: 1 1/2 in.Condition:The colors appear bold and bright. There are no visible tears or restorations. Light wear to the edges. The work is floated in frame. Framed under plexiglass; light wear to the frame. Not inspected out of frame.
21cm blade with clipped back point, etched to one side with an eagle and variously THE UNITED STATES LAND OF THE FREE and AMERICANS ASK FOR NOTHING BUT WHAT IS RIGHT AND SUBMIT TO NOTHING THAT IS WRONG, etching very worn and illegible in places, stamped EDWARD BARNES & SON at the forte, cutlery type handle with American eagle over foliage, contained in its white metal mounted tooled brown leather scabbard.
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78475 Los(e)/Seite