78475 Preisdatenbank Los(e) gefunden, die Ihrer Suche entsprechen

Pierre Salvy Fred. Teyssonnieres (French, 1834-1912) after Alexandre-Gabriel Decamps (French, 1803-1860). Etching on laid paper after an 1839 Decamps artwork titled "Samson Destroying the Philistines" depicting a biblical fight, 1883. Signed in plate by Teyssonnieres along the lower right of the image. Decamps signature and date in plate along the lower left of the image. With an "MA" watermark. 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: There is light toning and undulation to the sheet throughout. There is light wear and handling marks along the edges. No major creases, tears, losses, or restorations. Pencil number 58 along the upper right. Not framed.

Rudy Pozzatti (American, 1925-2021). Etching on paper titled "Computer Person II" depicting a profile of a figure surrounded by machinery, 1975. Pencil signed and dated along the lower right; numbered 8/18 along the lower center; titled along the lower left.Sight; height: 11 1/2 in x width: 16 1/4 in. Framed; height: 20 1/2 in x width: 24 1/2 in. />Condition: Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions.com with any condition questions.

Edda Renouf (American, b. 1943). Set of eight etching and/or aquatints on Rives BFK paper titled "Clusters." Printed by Doris Simmelink, Crown Point Press, Oakland, California. Published by Parasol Press, Ltd., New York. From an edition of 25 with 10 artists proofs, July 1976. Each print pencil signed and dated along the lower right; numbered 5/25 along the lower left. Each print is additionally numbered 1-8 corresponding with the order of the portfolio. Together with the title page and held within a green cloth-bound portfolio.(Prints, each) height: 8 3/4 in x width: 8 3/4 in. (Portfolio) height: 9 3/4 in x width: 9 1/2 in. />Condition: There are no major tears, losses, or restorations. There are minute spots of foxing on several of the sheets. Each sheet has a small area with a rectangular accretion along the verso. Print eight has a small crease along the upper left corner. There is minor wear to the case including some scratches and areas of discoloration.

Jacques Villon (French, 1875-1963). Etching depicting a self-portrait (or autoportrait) head in loose lines, 1955. Pencil signed along the lower right; numbered 26/30 along the lower left. Jacques Villon was Marcel Duchamp's brother.Sight; height: 9 3/4 in x width: 8 3/4 in. Framed; height: 16 1/2 in x width: 14 1/2 in. />Condition: Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions.com with any condition questions.

Charles Louis Kratke (French, 1848-1921) after Etienne Pierre Theodore Rousseau (French, 1812-1867). Etching on laid paper after a Theodore Rousseau painting titled "Banks of the Oise" depicting an idyllic riverside landscape and a fisherman, 1883. Signed in plate by Kratke along the lower right. Th. Rousseau signature in plate along the lower right of the image. Crown watermark. 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: Light toning and light undulation to the sheet throughout. Some light wear along the edges. Light crease to the upper left corner. Pencil number 24 along the upper right. Spot of foxing to the upper right corner. Not framed.

John Stuart Gibson (American, b. 1958). Etching and aquatint depicting a sphere with geometric triangle designs in orange and black. Pencil signed and numbered 1/95 along the lower right; editioned 10/30 along the lower left.Sight; height: 20 1/4 in x width: 15 1/4 in. Matted; height: 28 1/4 in x width: 23 1/4 in. />Condition: Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions.com with any condition questions.

Auguste Boulard Jr. (French, 1852-1927) after Etienne Pierre Theodore Rousseau (French, 1812-1867). Etching on laid paper after a Theodore Rousseau painting titled "Edge of the Woods of Monts Girard" depicting an idyllic landscape, 1883. Signed in plate by Boulard along the lower right. Crown watermark. 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: There is light toning and undulation to the sheet. Light wear along the edges. No major creases, tears, losses, or restorations. Pencil number 64 along the upper right corner.

Rembrandt Harmenszoon Van Rijn (Dutch, 1606-1669). Etching on paper titled "The Strolling Musicians," depicting a group musicians and a dog playing their tunes for a group of individuals at a window. Second state printing, ca. 1635.Literature: Hollstein, 119/II; New Hollstein, 141/II.Sight; height: 5 1/2 in x width: 4 1/2 in. Framed; height: 9 1/4 in x width: 8 1/2 in. />Condition: The colors are bold and deep. There are no visible rips, losses, or restorations. There is a light undulation to the sheet. The sheet has been trimmed to within the impression of the plate. Some light wear along the extreme edges. The sheet is floated in the frame. Light wear to the frame; framed under glass; not inspected out of frame.

Felix Bracquemond (French, 1833-1914) after Jean-Baptiste-Camille Corot (French, 1796-1875). Etching on laid paper after a Corot painting titled "The Nymph and the Tiger" depicting a reclining nude woman holding a dead bird out towards a leopard that is ridden by a cherubic child, 1883. Signed in plate by Delauney along the lower right. Corot signautre 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: The sheet is lightly toned and there is a light undulation to the sheet. There is a crease along the upper left corner. Some light handling marks along the edges. Light wear to the deckled edges. There is a pencil number 38 along the upper right corner. There is a small pencil arrow pointing to Corot's signature. Not framed.

Eugene Gaujean (French, 1850-1900) after Charles-Francois Daubigny (French, 1817-1878). Etching on laid paper after a 1843 Daubigny painting titled "Banks of the Oise" depicting an idyllic riverside landscape, 1883. 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. There is a loss along the lower right edge. Wear to the edges. There is a small tear along the upper left edge. The number "68" is written in pencil along the upper right; "Banks of the Oise" is written in pencil along the lower right. Not framed.

Pierre Bonnard (French, 1867-1947). Etching on paper titled "Interior with a Cat" depicting a cat resting on a table surrounded by plants. Initialed along the lower center.Sight; height: 7 1/2 in x width: 5 1/4 in. Framed; height: 14 1/4 in x width: 11 1/2 in. />Condition: There are no visible creases, chips, tears, losses, or restorations. The sheet is toned. There are a few minute spots of foxing. Framed under glass; light wear to the frame; not inspected out of frame.

Adolphe Lalauze (French, 1838-1906) after Jean-Louis-Ernest Meissonier (French, 1815-1891). Etching on laid paper after an 1869 Ernest Meissonier painting titled "Playing Bowls at Antibes" depicting an a group of figures playing a ball game outside city walls, 1883. Signed in plate by Lalauze along the lower right. Meissonier 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: There is light toning and undulation to the sheet throughout. There is light wear along the edges. Pencil number 14 along the upper right corner. There is a minute hole along the lower right corner of the image; the hole is only noticeable upon close inspection or with a back light. Not framed.

Eugene-Andre Champollion (French, 1848-1901) after Maria Josep Maria Bernat Fortuny i Marsal "Mariano Fortuny" or "Maria Fortuny" (Spanish, 1838-1874). Etching on laid paper after a Fortuny artwork titled "Choosing the Model" depicting a group of men in a salon observing a nude female model, 1883. Signed in plate by Champollion along the lower right. Fortuny signature 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: There is light toning and undulation to the sheet throughout. There is light wear to the edges throughout. Pencil number 6 along the upper right corner. There is a minute spot of thinner paper (it does not appear to be a hole, but possibly is an area of skimming) along the upper left quadrant. Not framed.

Adriaen van Ostade (Dutch, 1610-1685). Small etching titled "Laughing Peasant" depicting a jovial man in profile, 17th century. Likely a 8th or 9th state print.Literature: Godefroy 4.Sight; height: 2 3/4 in x width: 2 1/4 in. Framed; height: 4 1/4 in x width: 3 1/4 in. />Condition: Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions.com with any condition questions.

James McNeill Whistler (American, 1834-1903). Etching and drypoint depicting Battersea Bridge and Chelsea Church, 1879. Fifth state of five.(On the River) Sheet; height: 13 in x width: 9 1/2 in. Matted; height: 14 in x width: 11 in. (Watergate-Venice) Sheet; height: 9 1/2 in x width: 13 1/2 in. Matted; height: 11 in x width: 14 in. (Battersea Bridge) Sight; height: 5 3/4 in x width: 8 1/2 in. Matted; height: 10 3/4 in x width: 13 1/4 in. />Condition: There are no major tears, losses, or restorations. The sheet is toned, more so along the verso. There is matburn around the perimeter of the image. There are a few minute areas of foxing. There is a pencil inscription ("23-5") along the verso. Minor wear along the edges including a few small fleabite chips. It is mounted with three pieces of clear tape along the upper edge of the verso to an acidic matboard. Housed between an acidic top mat and a non-acidic back mat. Not framed.

Jim Dine (American, b. 1935). Etching, drypoint, and power-tool abrasion with hand coloring titled "Two Dark Robes" depicting the eponymous subject, 1991. Signed, dated, and numbered 6/18 along the lower left of the left print.Unframed, each; height: 27 1/2 in x width: 19 in. Framed; height: 36 3/4 in x width: 48 in. />Condition: Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions.com with any condition questions.

Group of five Old Master etchings including:Johann Christoph Storer (German, d. 1671). Etching on laid paper depicting a scene from ancient Rome, ca.1651. Literature: Nagler 5.After Antonio Busca (Italian, 1625-1686). Etching on laid paper depicting a seated figure surrounded by attendants. Signed in the plate lower right "Antonius Busca Pinxit" and with a monogram along the lower left. Busca worked with Storer in the church of San Marco, Milan. Rare etching with only one example in the Rijksmuseum, AmsterdamAnthony van Dyck (Flemish, 1599-1641). Etching on paper titled "Adam van Noort" depicting a portrait, from "The Iconography," 17th century.Pierre-Alexandre Wille (French, 1748-1837) Engraving on laid paper titled "Portrait of an Elderly Woman." Inscribed verso: Geblaue; 2nd state; very rare proof, with collector's stamp. Literature: Lugt 1145.Jan De Visscher (Dutch, 1636-1692) after Nicolaes Berchem (Dutch, 1620-1683). Etching on laid paper titled "Shepherdess at Rest" depicting a sleeping woman surrounded by farm animals. With a 17th century foolscap watermark, signed in the plate.(Sheet) height ranges from 8 in to 12 in; width ranges from 7 in to 12 1/2 in. (Mat) height ranges from 10 in to 14 in; width ranges from 11 in to 16 in. />Condition: Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions.com with any condition questions.

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.Sight; height: 13 in x width: 8 1/4 in. Framed; height: 20 1/2 in x width: 15 1/2 in. />Condition: There are no visible tears, creases, or restorations. The sheet is toned. There are a few small spots of foxing. Undulation to the sheet throughout. The work is framed under a non-acidic mat that is surmounted by two further acidic mats. Framed under glass; light wear to the frame; not inspected out of frame.

Joseph Pennell (American, 1857-1926). Etching on laid paper titled "A Watergate - Venice" depicting a Venetian canal, 1883. With a partial crown and shield watermark. Signed and dated in plate along the left center.(On the River) Sheet; height: 13 in x width: 9 1/2 in. Matted; height: 14 in x width: 11 in. (Watergate-Venice) Sheet; height: 9 1/2 in x width: 13 1/2 in. Matted; height: 11 in x width: 14 in. (Battersea Bridge) Sight; height: 5 3/4 in x width: 8 1/2 in. Matted; height: 10 3/4 in x width: 13 1/4 in. />Condition: Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions.com with any condition questions.

Georges Rouault (French, 1871-1958). Aquatint and etching on paper titled "Guerre" from the series "Miserere," depicting two portraits, 1927. From an edition of 450. With a label from Ferdinand Roten Galleries along the verso.Sight; height: 25 1/2 in x width: 19 3/4 in. Framed; height: 32 1/2 in x width: 26 14 in. />Condition: Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions.com with any condition questions.

Claude Faivre (French, 19th c.) after Gerard ter Borch "Gerard Terburg" (Dutch, 1617-1681). Etching on laid paper after the ter Borch painting titled "Young Lady at her Toilet" depicting three figures in a bedroom with a small dog, 1883. Signed in plate by Faivre 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 lightly toned and there is a light undulation to the sheet. There is a light crease along the upper left corner. No tears, losses, or restorations. Light wear to the deckled edges. The number "86" is written in pencil along the upper right. Not framed.

Henry Moore (English, 1898-1986). Etching on paper print depicting a figural group. Pencil signed along the lower right; numbered 40/50 along the lower left.Sight; height: 5 3/4 in x width: 8 1/4 in. Framed; height: 12 3/4 in x width: 15 in. />Condition: No visible rips, losses, or restorations. There is matburn along the perimeter of the image. Light wear along the deckled edges. There are two pieces of tape from previous framing along the verso along the upper right and left corners (total of 4 pieces). There is tape residue along the entire upper edge along the verso. The artwork is hinged to the matboard with two pieces of clear tape along the verso. Pencil inscription ("G0778") along the verso. Some small spots of foxing along the verso that do not appear to affect the overall appearance of the recto. Framed under glass; light wear to the frame.

Ossip Zadkine (Russian/French, 1888-1967). Etching titled "L'homme chat" depicting a cubist figure from the book "Paroles Peintes I," ca. 1962-1970. Initialed in plate along the lower right; pencil signed along the lower right; numbered 19/50 along the lower left.Literature: Czwiklitzer No.41.Sight; height: 14 1/4 in x width: 10 in. Framed; height: 20 1/2 in x width: 15 3/4 in. />Condition: Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions.com with any condition questions.

Antoine Masson (French, 1636-1700) after David Teniers the Younger (Belgian, 1610-1690). Etching on laid paper after the Teniers painting "The Dinner with Ham (Ham Dinner)" depicting a crowded room at dinnertime, 1883. Signed in plate by Masson along the lower right. With an "MA" watermark. The Ham Dinner sold at Christie's in 2019, setting an auction record for Teniers at approximately $6 million. It was previously in the Rothschild collection. 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. No tears, creases, losses, or restorations. Light wear to the deckled edges. The number "88" is written in pencil along the upper right. "Teniers The Dinner with Ham" is written in pencil along the verso in the upper left. Not framed.

A framed and glazed coloured etching manor house by Frederick Louis Leve exhibited 1906 in Liverpool

A 19th century silhouette portrait miniature of a boy, with two portrait miniatures of the same woman with red ribbon, and an etching portrait miniature and a photograph of a naval officer, (5)

CONTEMPORARY SCHOOL  ABSTRACT IN BLUE, PINK AND YELLOW  Etching in colours, signed lower right, 58 x 49cm  Together with a similar by the same hand and another (3) Condition Report:Available upon request

WILLIAM LIONEL WYLLIE RA,RI,RE Beached cobles,signed, etching, 10 x 37cm and Tower Bridge, London, signed, 30 x 20cm (2) Condition Report:Available upon request

JOSEPH RUSSELL Barges on The Thames, signed, etching, 27 x 44cm and CHARLES WATSON Chelsea, etching, 1879, 18 x 28cm (2) Condition Report:Available upon request

AFTER LOUIS ICART (FRENCH 1888-1950)  FELICIA OU MES FREDAINES  Etching in colours, 20 x 15cm   Titled verso   Together with a similar by the same hand (2) Condition Report:Available upon request

Victorian Royal Navy Flag Officer's Sword30 3/4 inch, single edged blade with sharpened back edge point.  Wide fuller.  Blade polished with traces of etching.  Gilt brass guard with Victorian crowned anchor cartouche.  Rear folding panel.  Gilt brass lion mask pommel and backstrap.  Shagreen grip with twist wire binding.  Contained in its leather scabbard with special pattern, gilt brass, oak leaf decorated mounts.   PAYMENT BY BANK TRANSFER ONLY

* Gillray (James). Fighting for the Dunghill - or - Jack Tar settling Buonaparte, H. Humphrey, Novr. 20th 1798, etching with aquatint on wove, contemporary hand-colouring, one small area of paper weakness, strengthened with later paper on verso, 260 x 360 mmQTY: (1)NOTE:BM Satires number 9268.From the Royal Museum Greenwich catalogue entry for the Edinburgh edition (PAD4792):This is the earliest of Gillray’s portrayals of Bonaparte as the symbolic personification of France. Here he is caricatured in a manner deriving from earlier 18th-century lampoons against the French, particularly by Hogarth, in being shown semi-naked and emaciated. Gillray also plays upon Bonaparte’s Corsican roots, notably in the Italian spelling of his name in the title. Seated atop a globe, he is being knocked down and has his nose bloodied by a stout British tar with the profile features of George III. It is a simple but effective piece of propaganda, casting France with the dark, benighted side of the globe, and Britain with the bringing of light. At the same time, the fusion of the King with Jack Tar is a brilliant means of suggesting a national unity between the upper and lower orders that was, at this time, far from being the case.

* Weiss (D.). A Tea Garden [and] St James's Park, circa 1860, pair of hand-coloured lithographs after George Morland, slight water staining, each approximately 375 x 440 mm, uniformly mounted, framed and glazed, together with Vernet (C.). Dogs Dancing, La Danse des Cheins, Paris, circa 1830, etching with contemporary hand-colouring, 410 x 610 mm, mounted, framed and glazed in an ornate French gilt gesso moulding, with Detaille (Eduard). [The Scots Guards in Hyde Park], 1880, hand-coloured photogravure, trimmed to the image, 430 x 565 mm, mounted, framed and glazedQTY: (4)NOTE:The first pair of items described are taken from the pair of stipple engravings with the same titles, by Francois Davide Soiron after George Morland which were published in 1805.

* Turner (Charles, 1773-1857). Tiger & Crocodile, London: James Daniell & Co. No. 6, Great Charlotte Street, Blackfriars Road, December 7th 1799, mezzotint with etching after James Northcote, printed in colours and finished by hand, occasional marginal closed tears, the margins strengthened and repaired on verso, slight staining, one small wormhole, 485 x 600 mmQTY: (1)NOTE:Alfred Whitman, Nineteenth Century Mezzotinters: Charles Turner (1907), 802. A rare image. The last copy to appear in an auction was at Christie's in 1993.

Sir Eduardo Paolozzi CBE RA (1924-2005) Untitled, 1960 Etching on wove, published by Galleria Schwarz, Milan Signed and numbered 46/60 in pencil Sheet: 26 x 19.2 cm (unframed) (ARR)

ADRIAEN VAN OSTADE (DUTCH 1610-1685) MOTHER AND TWO CHILDREN (BARTSCH, HOLLSTEIN, GODEFROY 14) Etching, 1675, on laid paper without watermark, from the fifth state of six, signed with initials in plate Dimensions:plate size 9cm x 7.1cm (3.5in x 2.75in), sheet size 10.2cm x 8.8cm (4in x 3.5in), unframed

Graham Clarke (British, B.1941)'Badgers Oak', edition 63/100, etching and aquatint, signed in pencil lower left, mounted and framed plate size 340 x 260mm, framed size 48 x 56cmCondition:

Rowland Hilder (British, 1905-1993) ‘A drifter at Whitby’ etching and dry point, signed in pencil beneath print, mounted and framedplate size 163 x 182mm, within mount 19 x 18.2cm, overall size 33.7 x 35.5cmCondition:

E. Robertson. Still life, with Toby Jug, watercolour, unframed and a number of works by the artist including pencil sketches and etchings, an etching after J.S.C. Simpson of Deal, an etching signed H. Tandfelt. (1 folder)

Herbert Thomas Dicksee (1862-1942). Stealth - A Leopard (1914), etching, signed, 52cm x 72.5cm.

Phil Greenwood (b.1943). White Sun, artist signed coloured etching, titled and dated (19)80, 42.5cm x 49cm.

William Lionel Wyllie (1851-1931). Rouen, artist signed etching, label verso Hewson and Forster Sheffield, 18cm x 39cm.

D. Deighton (19thC/20thC). Brayford, Lincoln, artist signed and titled etching, 18cm x 22.5cm.

William Lionel Wyllie (1851-1931). North Shields, artist signed etching, 18cm x 38cm.

A.M. Portrait, coloured etching, initialled, 18cm x 13cm.

Claude Hamilton Rowbotham (1864-1949). St. Michael's Mount, coloured etching, signed and titled, 10cm x 15cm and two others, Fowey, Carbis Bay. (3)

Laxma Goud (B.1940)Untitled (Woman) signed in Telgu upper rightgouache on paper, framed39.8 x 18.3cm (15 11/16 x 7 3/16in).Footnotes:ProvenanceProperty from a private collection, UK.Acquired from Sotheby's, The Indian Sale, 8th May 1997, lot 434.Awarded a Padma Shri in 2016, one of India's highest civilian honours, Goud is a printmaker, draughtsman and painter. A prolific artist, he works across a variety of mediums including gouache, pastel, etching, sculpture and glass painting. Predominantly known for his early drawings depicting eroticism in a rural context, he has also depicted other aspects of rural life, including the women he has come across. Untitled (Woman) is one such example, where his exquisite painterly skills are on display. The painting is timeless and deeply rooted in Indian tradition as seen through the colourful sari depicted in the muted colours of blues, reds, oranges, yellows and whites. The women is unadorned and the composition is rendered with thin definitive lines. The woman's gaze is introspective, inviting viewers to engage with the work and pondering where her thoughts may lay.For further information on this lot please visit Bonhams.com

A framed Etching scout planes at Dawn Kerr Eby

PLATH (SYLVIA)Pursuit. With an Etching & Drawings by Leonard Baskin, NUMBER 1 OF 100 COPIES, etched plate by Baskin signed and numbered, original green morocco by Zaehnsdorf, t.e.g., slipcase [Tabor A17], 1973; Lyonnesse. Poems, NUMBER 12 OF 90 COPIES BOUND IN FULL CALF, from an overall edition of 400 copies, full calf, gilt, t.e.g., slipcase [Tabor A13], 1971; Crystal Gazer and Other Poems, ONE OF 80 COPIES BOUND IN FULL CAPE GOAT LEATHER from an overall edition of 400, this copy number 34, one plate after Plath, full red morocco gilt by Zaehnsdorf, t.e.g., slipcase [Tabor A9], 1917; Dialogue Over the Ouija Board, NUMBER 1 OF 140 COPIES, frontispiece by Leonard Baskin, publisher's limp vellum, slipcase [Tabor A25], 1981, 4to and 8vo, The Rainbow Press (4)Footnotes:The four titles by Sylvia Plath published by The Rainbow Press, founded by Ted Hughes and his sister Olwyn.Provenance: Frieda Hughes, inscribed in each copy.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com

PLATH (SYLVIA) AND TED HUGHESPLATH (SLYVIA) Crystal Gazer and Other Poems, NUMBER 106 OF 400 COPIES, publisher's cloth-backed boards, 1971; Lyonnesse. Poems, NUMBER 354 OF 4OO COPIES, 1971; Pursuit, NUMBER 3 OF 100 COPIES, ONE ORIGINAL ETCHING SIGNED AND NUMBERED BY LEONARD BASKIN, full morocco by Sangorski & Sutcliffe, [1973]; Dialogue Over a Ouija Board, NUMBER 2 OF 140 COPIES, frontispiece by Leonard Baskin, original vellum, 1981--HUGHES (TED) Eat Crow, NUMBER 3 OF 150 COPIES, 1971; Prometheus on his Crag. 21 Poems, NUMBER 21 OF 160 COPIES SIGNED BY THE AUTHOR AND ARTIST, 1973; Orts, NUMBER 183 OF 200 COPIES, 1978; Adam and the Sacred Nine, NUMBER 42 OF 200 COPIES, 1978, these 3 with frontispiece by Leonard Baskin, original calf by Zaehnsdorf, or Gray of Cambridge; Spring, Summer, Autumn, Winter, NUMBER 3 OF 140 COPIES SIGNED BY THE AUTHOR, white calf, 1973--Moortown Elegies, NUMBER 6 OF 175 COPIES SIGNED BY THE AUTHOR, one plate by Leonard Baskin, publisher's limp vellum gilt, blocked with an illustration of a bull on upper cover, 1978; Earth-Moon, NUMBER 3 OF 226 COPIES, illustrations by the author, original pictorial gilt calf, 1978; Remains of Elmet. Photographs by Fay Goodwin, NUMBER 35 OF 70 COPIES printed on Barcham Green Charing hand-made paper bound in full treed calf, and signed by the author and photographer, from an overall edition of 180 copies, 1979--HUGHES (TED), RUTH FAINLIGHT AND ALAN SILLITOE. Poems, NUMBER 184 OF 300 COPIES, publisher's green pictorial morocco, 1971; Henry Williamson. A Tribute, NUMBER 9 OF 200 COPIES, publisher's wrappers, 1979--GUNN (THOMAS) Mandrakes, NUMBER 3 OF 150 COPIES, frontispiece by Leonard Baskin, signed by the author, quarter white vellum by Sangorski & Sutcliffe, 1973, ALL RAINBOW PRESS, all but the fourteenth in original slipcases, 8vo and 4to (15)This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com

PLATH (SYLVIA)A Winter Ship, FIRST EDITION OF THE AUTHOR'S FIRST BOOK, ONE OF APPROXIMATELY 60 COPIES, title within an ornamental border, stitched in original stiff card with marbled wrappers, title printed in black on label pasted on upper cover [Tabor A1], Edinburgh, Tragara Press, 1960; The Colossus, FIRST EDITION, library copy with perforated stamp on title an without front free endpaper, publisher's cloth, stamped on upper cover and spine [Tabor A2], Heinemann, 1960; Three Women. A Monologue for Three Voices, second (first published) edition, NUMBER 165 OF 180 COPIES, frontispiece by Stanislaw Gliwa, publisher's pictorial cloth gilt [Tabor A3b.1], Turret Books, 1968; The Bell Jar, [Tabor A4a.3, Heinemann, [1966]; Ariel, FIRST EDITION, [Tabor A5a], Faber, [1965]; idem, first U.S. edition [Tabor A5b], Harper & Row, [1966]; Uncollected Poems, [LIMITED TO 150 COPIES], THIS COPY 'C OF 13 COPIES' SIGNED BY TED HUGHES inside upper cover, publisher's pictorial wrappers [Tabor A6, not mentioning this 'lettered' limited variant], Turret Books, 1965 [but 1966]; Wreath for a Bridal, LIMITED TO 100 COPIES, this copy 'B' of 5 unnumbered copies, publisher's wrappers [Tabor A7], Frensham, Farnham Press, 1970; Crystal Gazer and Other Poems, NUMBER 104 OF 400 COPIES, publisher's quarter cloth, slipcase [Tabor 9], Rainbow Press, 1971; Fiesta Melons, LIMITED TO 150 COPIES, this copy number '6' but not signed by TH [Tabor A10], Exeter, Rougemont Press, 1971; Crossing the Water, FIRST EDITION, Tabor A11a], Faber, 1971; idem, first U.S. edition [Tabor A11b], Harper & Row, 1971; Lyonnesse. Poems, ONE OF 90 COPIES BOUND IN FULL CALF, from an overall edition of 300, this copy number 15, publisher's calf gilt, slipcase [Tabor A13], Rainbow Press, 1971; Million Dollar Month, NUMBER 30 OF 150 COPIES, publisher's wrappers [Tabor A14], Frensham, Sceptre Press, [1971]; Winter Trees, FIRST EDITION, [Tabor A15], Faber, 1971; idem, first U.S. edition [Tabor A15b], Harper & Row, 1972; Child, NUMBER 6 OF 325 COPIES [Tabor A16], Exeter, The Rougemont Press, 1971; Pursuit, NUMBER 8 OF 100 COPIES, WITH ORIGINAL ETCHING SIGNED BY LEONARD BASKIN, 4 full-page illustrations by Baskin, full morocco by Zaehnsdorf, t.e.g., slipcase [Tabor A17], Rainbow Press, 1973; Letters Home... Selected and Edited with Commentary by Aurelia Schober Plath, FIRST EDITION, PRESENTATION COPY FROM THE EDITOR, SYLVIA'S MOTHER TO FRIEDA HUGHES 'To Frieda - my first grandchild with every wish for all that is good and true in life. Love from your mother's mother Granny' on the half-title, jacket slightly creased [Tabor A18], New York, Harper & Row, 1975; The Bed Book. Illustrated by Quentin Blake, FIRST EDITION, AUTOGRAPH LETTER FROM THE ILLUSTRATOR TO FRIEDA HUGHES (28 October 1999) loosely inserted [Tabor A19], Faber, 1963; Johnny Panic and the Bible of Dreams, FIRST EDITION, short tears to front free endpaper [Tabor A22], Faber, 1977; idem, first U.S. edition [Tabor A22b], Harper & Row, [1978]; Two Poems, NUMBER 67 OF 75 'ESPECIAL' COPIES, from an overall edition of 300 [Tabor A22], Knotting, Martin Booth at Sceptre Press, 1980; Two Uncollected Poems, NUMBER 3 OF 450 COPIES, [Tabor A23], Anvil Press, 1980; A Day in June. An Uncollected Short Story, NUMBER 16 OF 160 COPIES, [Tabor A24], Ely, Embers Handpress, 1981, last 3 publisher's wrappers; A Dialogue Over a Ouija Board, NUMBER 138 OF 140 COPIES, illustration by Leonard Baskin, publisher's limp vellum, slipcase [Tabor A25], Rainbow Press, 1981; Collected Poems. Edited by Ted Hughes, FIRST EDITION, INSCRIBED BY TED HUGHES TO FRIEDA HUGHES 'To Frieda and Des [Dawes, first husband] with love from Dad, 2nd October 81', with note from Frieda about corrections [Tabor A26], Faber, 1981; The Journals of Sylvia Plath 1950-1962... Edited by Karen V. Kukil, FIRST EDITION, PRESENTATION COPY INSCRIBED BY THE EDITOR TO FRIEDA '... with all my heart and much help from your beautiful mother...', several annotations in the text by Frieda [Tabor A27], Faber, 1982; The Green Rock, NUMBER 9 OF 160 COPIES publisher's wrappers, slipcase [Tabor A28], Ely, Embers Handpress, 1982; The Magic Mirror, LIMITED TO 226 COPIES, this marked 'Copy III. Copy O. Ted Hughes' on the colophon, Rhiwagor, Embers Handpress, 1989, unless otherwise mentioned publisher's cloth, dust-jackets, ALL SIGNED BY FRIEDA HUGHES, either in the book or in slip inserted, 8vo and 4to; and 4 others with contributions by Plath (34)Footnotes:A fine collection of Plath's major works, including her very first book (limited to 60 copies), a fine copy of Ariel, many private press limited editions, and copies inscribed by Sylvia's mother Aurelia and husband Ted HughesProvenance: Frieda Hughes, all with ownership inscription in the book, or inserted label.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com

BOX PRINTS & ETCHING BY CRESSWELL BOAK

AMMAN, Jost (c. 1539-1591). (Coat of arms of the Holzschuher Family). (2nd half 16th c.). Etching. 192 x 162 mm. Tipped in under passepartout. (Cut to plate edge, stamps on v°). NOTE: New Hollstein 180; Bartsch 23; Andresen 226; Becker 123.

TWELVE YEARS' TRUCE -- "TREBUS VAL". Amst., S. Theunis, n.d. (c. 1621). Broadside. Etching 200 x 353 mm on top of a 2 column letterpress text, total size 459 x 350 mm. Hinged to mount and under passepartout. NOTE: Allegory on the ending of the Twelve Years' Truce in 1621. On the left the Dutch Virgin in the Dutch Garden, in the center the falling pyramid of the Truce, propped up in vain by monks with sticks. Here are Mars and Victoria. On the right, Treves - personification of the Truce - lies on her deathbed, for which Mars scatters money and weapons. Printed under the print is a conversation between a citizen and a farmer, in 2 columns, and the legend A-L. - Very rare. FMH 1449; Atlas v. St. 1529.

DULLAERT, H. Sonnetten. (Amst.), Sub Signo Libelli, 1977. Owrps. Printed in 62 numb. copies. -- K. PAUSTOVSKIJ. Sneeuw. Baarn, Arethusa Pers, (1996). W. cold. etching by A. Spronk-Feenstra. Ocl. Printed in 100 copies, one of 40 bound copies. -- M. NIJHOFF. Pierrot aan de lantaarn. Een clowneske rapsodie. Vught, Zolderpers, 1994. W. etched front. by G. Charpentier. Lge-8°. Owrps. Printed in 100 numb. copies. -- W.H. AUDEN. Drie gedichten. Arethusa Pers, (1983). W. cold. lithogr. by P. Roucka. Printed in 100 numb. copies. -- H. SALDEN. Soviel gramm Wurst. Terhorst, Ser Prop, 1992. Owrps. Printed in 100 numb. copies. -- And 4 o. (9).

JACKSON, J. A treatise on wood engraving, historical and practical. 1839. W. num. ills. Lge-8°. Cont. h. mor. extra. (Extremities sl. chafed). -- J. BUCKLAND-WRIGHT. Etching & engraving. Techniques & the modern trend. (1953). -- Id. Seven book-cover designs. Carlinapers, 1977. Owrps. Printed in 110 copies (#7). -- And 1 o. (4).

Atelier de Girolamo Francesco Mazzola, dit le Parmesan (Parma 1503-1540 Casal Maggiore)Femme étendant son bras droit vers un autelsanguine, rehauts de blanc sur papier, contrecolléred chalk, heightened with white on paper, laid downdans un cadre doré ancien; in a gilt frame 10 x 7.2cm (3 15/16 x 2 13/16in).Footnotes:Provenance:Modesto Ignazio Bonaventura Luigi Genevosio (Turin 1719- 1795) (L.545)Charles-Joseph-Bartélémy Giraud (Pernes, Vaucluse 1802-1881) (L.1143)Private Collection, FranceA similar drawing in silverpoint, after Parmigianino, is now at the ENSBA of Paris (EBA 228). The present drawing, and the one in the ENSBA, are related to an etching of the same subject executed by Master F. P., discovered in the Mariette album, now at the Metropolitan Museum of Art, New York (Mariette Album, folio 42, lower right, 27.78.2(112))For further information on this lot please visit Bonhams.com

After George Mason "The Harvest Moon," black and white Etching, in oak and parcel gilt foliate frame, 35cms x 86cms (13 3/4" x 33 3/4"). (1)

After Jonathan Fisher and Others Prints & Engravings:  "Jerpoint Abbey," & "Fenner Rock on the River Boyne," published 1792 & 1794, each approx. 18cms x 27cms (7" x 10 1/2"), matching frames; [R. Cresswell Boak] "Bray Head & Killiney Strand, Co. Wicklow," coloured etching, signed  approx. 15cms x 26cms (6" x 10"). (3)

Two mezzotint engravings, one limited edition with label verso, a gilt frame, an etching signed 'Janczek 22/30' and an unframed print of the boat 'La Jeanne d'Arc' (8).