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

λ RORY MCEWEN (BRITISH 1932-1982)TULIP (RED)Etching and aquatint printed in colours, 1978Signed and dated in pencil, numbered 4/26Plate: 12.5 x 12.5cm (4¾ x 4¾ in.)Please note measurements do not include the frame unless otherwise stated.

λ  ALISTAIR GRANT (BRITISH 1925-1997)UNTITLED (AT THE FAIRGROUND)Etching Signed in pencil and inscribed AP 28 x 35.5cm (11 x 13¾ in.)UnframedPlease note measurements do not include the frame unless otherwise stated.Condition Report: The sheet is unframed. Some light stains, particularly to the left and upper white margin. Some scuff marks in the white margins. Condition Report Disclaimer

λ RORY MCEWEN (BRITISH 1932-1982)TULIP (PINK)Etching and aquatint printed in colours, 1978Signed and dated in pencil, numbered 7/15Plate: 12.5 x 12.5cm (4¾ x 4¾ in.)Please note measurements do not include the frame unless otherwise stated.

Leonard Russell Squirrell RWS RI RE (British,1893-1979), 'Quiet Noon, Southwold', etching, dated 1928, signed in pencil to plate margin,7.5x12ins, framed and glazed.

Charles Mayes Wigg (British, 1889-1969), 'Barton - Norfolk', etching, titled and signed in pencil, 8.5x12ins, framed and glazed.

Geschenkschwert "In dankbarer Anerkennung - Der Reichsluftfahrtminister Hermann Göring" Replika unter Verwendung von alten und neuen Teilen und einer neuzeitlichen Replikaklinge mit goldenen Ätzungen auf blauem Grund. Länge 92 cm. A presentation sword "In dankbarer Anerkennung - Der Reichsluftfahrtminister Hermann Göring" A presentation sword "In dankbarer Anerkennung - Der Reichsluftfahrtminister Hermann Göring" A replica using old and new parts and a modern replica blade with gold etching on blue background. Length 92 cm.Condition: II +

NSKK-Dienstdolch M 36 in RZM-Fertigung von Hartkopf & Co., Solingen Klinge mit Devisenätzung und quartseitiger Herstellercodierung "RZM M.7/40/38." sowie neuzeitlicher Ärzung (postwar etching) "Ehre, Kraft, Freiheit". Neusilberparierstangen, brauner Holzgriff (Fehlstellen) mit ergänztem Neusilberadler (a replaced eagle) und emailliertem SA-Emblem. Schwarz lackierte Stahlscheide mit vernickelten Beschlägen. Länge 34,5 cm. An NSKK service dagger M 33, RZM manufacturing made by Hartkopf & Co., Solingen An NSKK service dagger M 33, RZM manufacturing made by Hartkopf & Co., SolingenKlinge mit Devisenätzung und quartseitiger Herstellercodierung "RZM M.7/40/38." sowie neuzeitlicher Ärzung (postwar etching) "Ehre, Kraft, Freiheit". Neusilberparierstangen, brauner Holzgriff (Fehlstellen) mit ergänztem Neusilberadler (a replaced eagle) und emailliertem SA-Emblem. Schwarz lackierte Stahlscheide mit vernickelten Beschlägen. Länge 34,5 cm.Condition: II -

A gorgeous clear bowl adorned with large amber dragons. Lalique sticker and etching mark. Issued: 2008Dimensions: 12"L x 10"W x 10.25"HEdition Number: 60 of 88Manufacturer: LaliqueCountry of Origin: FranceCondition: Age related wear.

A fabulous 20th century Art Deco bowl adorned with serpents. Lalique sticker and etching. Dimensions: 3.25"H x 15"diaManufacturer: LaliqueCountry of Origin: FranceCondition: Age related wear.

A stunning frosted vase with figural reliefs of young priestesses of Bacchus. Lalique sticker and etching. Dimensions: 8.5"W x 9.5"HManufacturer: LaliqueCountry of Origin: FranceCondition: Age related wear.

Property of a ladyRembrandt Harmensz. van Rijn (1606 - 1669)A late self-portrait Second-state etching laid on Japan paper. A watermark suggestive of a coat of arms. Indistinct collector's mark verso. Inscribed verso 'L/4'.Dimensions:4.25 in. (H) x 4 in. (W)

Thomas Landseer (1795 - 1880)A Bengal TigerOil on canvasProvenance:Private collection, EnglandThis newly discovered picture by Thomas Landseer depicts the Bengal tiger which was housed in the menagerie at King’s Mews in London, now the site of the National Gallery. The painting was likely made as preparation for an etching in the print series 'Characteristick Portraits of Animals' published in 1829 (fig. 1), a project which was published in parts over several years. In both the painting and the etching, we see a snarling tiger guarding its kill. In the print a second tiger has been added, which appears to be intent on stealing the deer. The scene is far removed from the London menagerie in which the tiger was housed, and instead evokes the dark forests of India which would have greatly appealed to the romantically minded British viewer. Much like his brother Edwin, Thomas Landseer made a significant amount of his income from publishing engravings of his finished pictures. It would therefore appear likely that the present picture was used as a worked-up study for the more lucrative etching which was to come. Nail marks around the edges of the canvas suggest that Landseer pinned the picture up in his studio, studying from it while he worked on the etching. The large scale of the painting suggests that the commercially minded Landseer was hoping to find a buyer for the painting after he had finished preparing the etching. Dimensions:(Canvas) 46 in. (H) x 59.6 in. (W)(Frame) 49.25 in. (H) x 62.75 in. (W)

To be sold without reserveProperty of a LadyMarc Chagall (1887 - 1985)An original etching entitled "Le Loup, la Chèvre et le Chevreu, for the fables of La Fontaine"Dimensions:20.2 in. (H) x 16.75 in. (W)

A RARE KNIFE PATTERN BOOK, SHEFFIELD, CIRCA 1833-1910, INCLUDING DESIGNS FOR RODGERS the front section including over sixty five illustrated pages of penknife elements comprising blades, scales, fillets, designs for etching and finished knives, including Knights Dagger, Sportsman’s Wharncliffe Knife, Civil Service Patterns, a War department design dated 1889, numbered consecutively from 1-918, the back section titled ‘Robert Sorby Patterns May 1833’, with summary descriptions and prices, numbered from 1-263, three pages of designs for folders, and a series of turned handle designs, marbled end-papers and original boards (worn, small losses) LiteratureDavid Hayden-Wright, The Heritage of English Knives, Atglen, Pennsylvania, 2008, pp. 12-13. In the nineteenth century, Rodgers had an unsurpassed reputation and history that was synonymous with the cutlery trade. The family's first cutler, John Rodgers (1701-85), is recorded around 1724, with a workshop near the present cathedral. In the same year the Company of Cutlers 'let' him a mark, a Star and Maltese Cross, which became world famous in later years. John Rodgers had three sons, John (1731-1811), Joseph (1743-1821), and Maurice (c.1747-1824) who joined the business and succeeded him. They are recorded with more workshops by 1780 and the business soon extended to occupy a nearby block of buildings at 6 Norfolk Street, an address that became as famous as Rodgers’ trade mark. By the early 19th century their trade had expanded from pen and pocket knives to include table cutlery and scissors. By 1817 the General Sheffield Directory lists the firm as ‘merchants, factors, table and pocket knife, and razor manufacturers’. In 1821 John’s son Joseph died and his sons continued the business under the leadership of the younger John (grandson of the founder). John was described as ‘unobtrusive in his manner’ but was ambitious and one of the founding partners of the Sheffield Banking Co. He had a flair for marketing and travelled the country taking orders. Not only was his firm’s output and range greater than any other Sheffield firm, but its quality was superior. The company’s manifesto states: ‘The principle on which the manufacture of cutlery is carried on by this firm is – quality first … [and] … price comes second’. He began making exhibitions knives and presented George IV with a minute specimen of cutlery with 57 blades, which occupied only an inch [25mm] when closed. In 1822, Rodgers’ was awarded its first Royal Warrant. Another fourteen royal appointments, from British and overseas royal dignitaries, followed over the next eighty years, and its company history was duly titled: Under Five Sovereigns. John Rodgers next commissioned the Year Knife, with a blade for every year (1821) and opened his sensational cutlery showroom in Norfolk Street where visitors came to marvel at Rodgers’ creations. Perhaps the greatest highlight shown there was the Norfolk Knife, an over 30 inch long sportsman’s knife with 75 blades and tools, that Rodgers’ produced for the Great Exhibition in 1851. The showroom proved particularly popular with Americans whose trade played a significant role in the firm’s expansion. Additionally, they looked East, with agents in Calcutta, Bombay, and Hong Kong by the mid-19th century. These markets enabled Rodgers to become the largest cutlery factory in Sheffield. The number of workmen appears to have grown from about 300 in the late 1820s, to over 500 in the 1840s. In 1871 the business became a limited company with Joseph Rodgers (1828-1883), grandson of the Joseph Rodgers who had died in 1821 and Robert Newbold as managing directors. Joseph died on 12 May 1883 and Newbold became the chairman and managing director. The firm continued to expand with offices in London, New York, New Orleans, Montreal, Toronto, Calcutta, Bombay and Havana. Their work force in 1871 was around 1,200 and accounted for one-seventh of all Sheffield’s American cutlery trade. In 1876 the American market was stagnating and Rodgers’ began looking elsewhere with a focus on trade in the Middle East, India and Australia. Notably the name ‘Rujjus’ or ‘Rojers’ was said to have entered the language as an adjective expressing superb quality in Persia, India and Ceylon. By 1888, the value of Rodgers’ shares had more than doubled and, in 1889, a silver and electro-plate showroom was opened in London. At this time, Rodgers acquired the scissors business of Joseph Hobson & Son. Rodgers’ produced catalogues that were packed with every type of knife imaginable. Pocket knives were made in scores of different styles. Ornate daggers and Bowie knives and complicated horseman’s knives were made routinely. Some patterns, such as the Congress knife and Wharncliffe knife, were Rodgers’ own design. The Wharncliffe – with its serpentine handle and beaked master blade – was apparently designed after a dinner attended by Rodgers’ patron Lord Wharncliffe. The firm’s workmanship was usually backed by the best materials. Rodgers’ ivory cellar in Norfolk Street was crammed with giant tusks and was regarded as one of the hidden sights of the town. Four or five men were constantly employed in sawing the tusks, and around twenty four tons of ivory were used a year around 1882. Rodgers’ appetite for stag was no less insatiable: deer horns and antlers filled another cellar and pearl from the Philippines and was also cut there. Around 1890, Rodgers’ began forging its own shear steel and in 1894 they began melting crucible steel. Newbold retired in 1890 and the grandsons of Maurice Rodgers, Maurice George Rodgers (1855-1898) and John Rodgers (1856-1919), became joint-managing directors. The McKinley Tariff Act of 1890 halved their American business and consequently they toured South Africa. Despite increasing foreign competition and the decline of the American market, Rodgers’ prospered before the First World War. However, workers’ wages were cut while the partners continued to take significant dividend which culminated in a prolonged and bitter strike. The First World War saw a decline in the business which continued steadily until the 1975 when it was absorbed by Richards and ceased trading in 1983. Joseph Rodgers & Sons left an enduring legacy in its knives. Its dazzling exhibition pieces and other fine cutlery show that the company’s reputation as Sheffield’s foremost knife maker was well founded. Abbreviated from Geoffrey Tweedale 2019. Part proceeds to benefit the Acquisition Fund of the Arms and Armor department, The Metropolitan Museum of Art, New York.

A TIBETAN AGATE 'DZI' BEADTibet, 19th century or earlier. The cylindrical bead made from etched agate and decorated with "9 eyes" motif. Dzi beads are considered to provide positive spiritual benefit. They are mostly worn as protective amulets, sometimes ground into a powder to be used in traditional Tibetan medicine. Artisans who made the dzi embellished the beads lines and shapes using ancient methods such as darkening with plant sugars and heat, bleaching and white line etching with natron and protecting certain areas with grease, clay, wax, or a similar substance. Condition: Good condition with expected, age-related wear. Provenance: The collection of The Zelnik Istvan Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above. Dr. Istvan Zelnik, President of the Hungarian South and Southeast Asian Research Institute, is a former high-ranking Hungarian diplomat who spent several decades in Southeast Asia, building the largest known private collection of Asian art in Europe. Weight: 26.9 g Dimensions: Length 5.6 cm

TWO TIBETAN AGATE 'DZI' BEADSTibet, 19th century or earlier. Each of cylindrical from and made from etched agate, one decorated with "3-eyes" motif and the other with "5-eyes" motif. Dzi beads are considered to provide positive spiritual benefit. They are mostly worn as protective amulets, sometimes ground into a powder to be used in traditional Tibetan medicine. Artisans who made the dzi embellished the beads lines and shapes using ancient methods such as darkening with plant sugars and heat, bleaching and white line etching with natron and protecting certain areas with grease, clay, wax, or a similar substance. Condition: Good condition with minor wear commensurate with age. Provenance: The collection of The Zelnik Istvan Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above. Dr. Istvan Zelnik, President of the Hungarian South and Southeast Asian Research Institute, is a former high-ranking Hungarian diplomat who spent several decades in Southeast Asia, building the largest known private collection of Asian art in Europe. Weight: 30.8 g (total) Dimensions: Length 4.9 - 5.7 cm

A GROUP OF NINE TIBETAN AGATE DZI AND BUDDHA EYE BEADSTibet, 19th century or earlier. Comprising six cylindrical Dzi beads of different sizes, with two, three and nine eyes, the opaque agate stones of red and brown colors. Together with three Buddha eye beads of domed circular form, the stones with brown, white, and gray stripes. Dzi beads are considered to provide positive spiritual benefit. They are mostly worn as protective amulets, sometimes ground into a powder to be used in traditional Tibetan medicine. Artisans who made the dzi embellished the beads lines and shapes using ancient methods such as darkening with plant sugars and heat, bleaching and white line etching with natron and protecting certain areas with grease, clay, wax, or a similar substance. Condition: Good condition with traces of wear and natural imperfections. One Dzi bead with cracks and some losses. Provenance: Estate of Paolo Bertuzzi. Paolo Bertuzzi (1943-2022) was an engineer and fashion stylist from Bologna, Italy. Born as the son of Enrichetta Bertuzzi, the founder of Hettabretz, one of the most important leather merchants in Italy which crafted womenswear for royals and celebrities including The Rothschild family, Audrey Hepburn, and Elizabeth Taylor. Paolo Bertuzzi later took over his mother's business and created exclusive pieces, some of which were exhibited in the Costume Institute at Metropolitan Museum of New York. He was also an avid collector of antiques for more than 60 years. His collection includes archaic and contemporary art, focusing mainly on Asian ancient pieces. Over decades he developed close relations with galleries, museums, curators, and auction houses while shaping his collection. He edited two important books about Asian art, Goa Made - An Archaeological Discovery, about a large-scale archaeological project carried out with the Italian and Indonesian governments, and Majapahit, Masterpieces from a Forgotten Kingdom. Weight: 111.7 g Dimensions: Length 1.4 cm - 5.1 cm

Valerie Thornton (1931-1991) - 'Macqueville', signed artist proof, also dated 83 (1983) and numbered 56/150, sepia coloured etching, 15" x 11.75" ** provenance with the CCA Galleries, 8 Dover Street, London W1X 3PJ

Arthur John Trevor Briscoe RE (1873-1943) - "A Dry Dock" signed inscribed and dated 28 (1928) also numbered 1/75, black and white etching 9.25" x 12.75"

Jenny Sanders (British, C20th); 'The Blue Boat Venice' ltd.ed coloured etching, signed, titled and numbered 38/50 in pencil, artists label verso, 33.5cm x 36cm

MORTIMER MENPES, A PENCIL SIGNED ETCHING OF THE THAMES LOOKING TOWARDS PARLIAMENT

A WATERCOLOUR BY EDWARD STAMP, A ETCHING OF CHIPPING CAMPDEN CHURCH, ANOTHER ETCHING SIGNED INDISTINCTLY AND ANOTHER PRINT (4)

A 19th C. OIL ON PANEL SEASHELLS AND A SIGNED ETCHING

A COLLECTION OF ANTIQUE AND LATER PRINTS AND ETCHINGS.Including an etching of Rouen Cathedral and another of Merton College lane in Oxford.

Framed etching of a lady titled 'Gitana' by Antoine Marie Roucoule (1848-1918) - frame 51cm x 34cm

SCOTTISH SCHOOL, BAMBURGH CASTLE etching on paper, signed and titled mounted, framed and other glass, together with two smaller etchings, each signed, mounted, framed and under glassthe largest 44cm x 58cm Qty: 4

Henry Moore (1898 - 1986), Four Mothers, signed and numbered 5/100 in pencil, etching, plate 30 x 23 cm, framed and glazed, frame 55.5 x 46.5 cm, with a certificate from Christie's Contemporary Art, and Berkeley Square Gallery/CCA exhibition catalogue 'Figure Studies 1931 - 1984'Overall appears to be in very good condition. This lot has not been inspected out of the frame.

James Abbot McNeill Whistler (1834-1903), 'Annie Standing', etching, 1857/8, 11.7 cm x 7.7 cm, the top corners tipped into loose mounted card.

STARGATE SG-1 (T.V. SERIES, 1998) - Screen-Matched Battle-Damaged Death Glider Model Miniature - A screen-matched, battle-damaged Death Glider model miniature from the sci-fi television show Stargate SG-1. Death Gliders were Goa'uld space superiority fighters, deployed against multiple space targets. This model was screen-matched to Season 2's "The Serpent's Lair," where SG-1 and Bra'tac escaped Apophis' Ha'tak mothership in two Gliders damaged during that ship's subsequent destruction.The miniature's body is lightweight rigid foam covered in a rigid skin, painted metallic blue, silver-color, and purple with gold-color paint inlaid in etching, and is assembled in three parts, forming the fuselage and heavily curved wings. The resin and clear acrylic canopy features spider-crack damage, showing the dual-seat cockpit and decal control surfaces. Paint markings suggest the cockpit replaced an earlier canopy. Two resin staff cannons are slung underwing. The surface is painted metallic blue and purple, and etched with curved, gold-color painted lines. There are battle damage marks representing laser blasts, and gray paint depicts smoke and burn damage. It exhibits small chips to the paint and hot glue residue at assembly points. Dimensions: 41" x 21" x 11" (105 cm x 53.5 cm x 28 cm)Special shipping required; see notice in the Buyer's Guide.Estimate: $8,000 - 16,000Bidding for this lot will end on Wednesday, June 28th. The auction will begin at 8:00AM PDT and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on Thursday, June 29th or Friday, June 30th.

ALIEN (1979) - Hand-Drawn John Mollo Concept Sketches, Notes, and Production Photos - Hand-drawn John Mollo concept sketches, notes, and production photos from Ridley Scott's sci-fi-horror film Alien. Hand-drawn by costume designer John Mollo, this lot consists of four sketches and doodles of a cap, sneakers, belts, pouches, a jacket, and a Nostromo crew shirt with a patch on the sleeve. Included in the lot are two photocopy pages of lists of actors' measurements, costume pieces needed, one page of spacesuit armor etching examples with illegible notes along the edge, and four black-and-white production photos of the cast and Kane's (John Hurt) spacesuit. This lot exhibits folds from production and major discoloration from age. Dimensions: 8.5" x 13" (21.75 cm x 33 cm)Sold without copyright; see notice in the Buyers Guide.Estimate: $2,500 - 5,000Bidding for this lot will end on Thursday, June 29th. The auction will begin at 8:00AM PDT and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on Wednesday, June 28th or Friday, June 30th.

BLADE RUNNER (1982) - Set of Four Los Angeles Cityscape Etching Masters - A set of four Los Angeles cityscape etching masters from Ridley Scott's sci-fi classic Blade Runner. The film's depiction of 2019 Los Angeles was brought to life through compositing model-miniatures, matte paintings, and sets.This lot consists of four pairs of clear plastic sheets with printed black designs. They feature varied informational labels including "Photo Pairs" for "Blade Runner," "Return to Customer" labels, and labels for "Stetson Visual Services," an offshoot of model maker Mark Stetson's Entertainment Effects Group (EEG). This lot exhibits some mild discoloration. Dimensions: (each) 24.5" x 13.5" (62.25 cm x 34 cm)Estimate: $3,000 - 6,000Bidding for this lot will end on Thursday, June 29th. The auction will begin at 8:00AM PDT and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on Wednesday, June 28th or Friday, June 30th.

PABLO PICASSO (1881-1973)Vénus et L'Amour signéeau-forte et aquatinte sur vélin filigrané Richard de BasExécuté en 1965. Epreuve en dehors de l'édition à 50 exemplaires Edité par Galerie Louise Leiris, Paris.signedetching and aquatint on watermarked Richard de Bas paperExecuted in 1965. A proof aside from the edition of 50Published by Galerie Louise Leiris, Paris.43 x 51 cm.16 15/16 x 20 1/16 in.Footnotes:ProvenanceEx-collection Marina Picasso, avec son tampon au versoBibliographieGeorges Bloch, Catalogue de l'oeuvre gravé et lithographié, Volume I, 1904-1967, Berne, 1971 (Bl.1214)Geiser & Baer, Picasso Peintre-graveur, Catalogue raisonné de l'oeuvre grave, Volume V, 1959-1965, Berne, 1989 (B.1196.B.b.2)This lot is subject to the following lot symbols: * AR* VAT on imported items at a reduced rate of 5.5% on the hammer price and the prevailing rate on buyer's premium if the item remains in EU. TVA sur les objets importés à un taux réduit de 5.5% sur le prix d'adjudication et un taux en vigueur sur la prime d'achat dans le cas où l'objet reste dans l'Union Européenne.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

PABLO PICASSO (1881-1973)Le Bain, La Suite des Saltimbanques eau-forte et pointe-sèche sur vélin Van Gelder ZonenExecuté en 1905 dans une édition de 250 exemplairesEdité par Ambroise Vollard, Paris, 1913.etching and drypoint on Van Gelder Zonen wove paperExecuted in 1905 and from the edition of 250Published by Ambroise Vollard, Paris, 1913.53,5 x 47,2 cm. 21 1/8 x 18 5/8 in.Footnotes:ProvenanceCollection Peter Farley (1954-1922), scénographe de théâtre, curateur, auteur et enseignantBibliographieGeorges Bloch, Catalogue de l'oeuvre gravé et lithographié, Volume I, 1904-1967, Berne, 1968 (Bl.12)Geiser & Baer, Picasso Peintre-graveur, Catalogue raisonné de l'oeuvre grave, Volume I, 1899-1931, Berne, 1990 (B.14.b.2)This lot is subject to the following lot symbols: * AR* VAT on imported items at a reduced rate of 5.5% on the hammer price and the prevailing rate on buyer's premium if the item remains in EU. TVA sur les objets importés à un taux réduit de 5.5% sur le prix d'adjudication et un taux en vigueur sur la prime d'achat dans le cas où l'objet reste dans l'Union Européenne.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

PABLO PICASSO (1881-1973)Les dames de Mougins signé et inscrit épreuve d'artisteeau-forte sur vélin Exécuté en 1963. Epreuve d'artiste en dehors l'édition de 150 exemplairesEdité par Cercle d'Art, Parissigned and inscribed épreuve d'artisteetching on wove paperExecuted in 1963. An artist's proof aside from the edition of 150Published by Cercle d'Art, Paris30 x 28,7 cm.11 13/16 x 11 in.Footnotes:ProvenanceAnglim Gilbert gallery, San FranciscoAcquis auprès de celle-ci par le propriétaire actuelBibliographieGeorges Bloch, Catalogue de l'oeuvre gravé et lithographié, Volume II, 1904-1967, Berne, 1971 (Bl.1131).Geiser & Baer, Picasso Peintre-graveur, Catalogue raisonné de l'oeuvre grave, Volume VI, 1966-1968, Berne, 1989 (B.1128)Patrick Cramer, Pablo Picasso: The Illustrated Books Catalogue Raisonné, Geneva, 1983 (CR.120)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

PABLO PICASSO (1881-1973)Le peintre et son modèle, Dans l'Atelier signé et inscrit épreuve d'artisteeau-forte sur vélin filigrané Richard de BasExécuté en 1963. Epreuve d'artiste en dehors l'édition de 150 exemplairesEdité par Cercle d'Art, Parissigned and inscribed épreuve d'artisteetching on watermarked Richard de Bas paperExecuted in 1963. An artist's proof aside from the edition of 150Published by Cercle d'Art, Paris30,5 x 28,2 cm.11 13/16 x 11 in.Footnotes:ProvenanceAnglim Gilbert gallery, San FranciscoAcquis auprès de celle-ci par le propriétaire actuelBibliographieGeorges Bloch, Catalogue de l'oeuvre gravé et lithographié, Volume II, 1904-1967, Berne, 1971 (Bl.1139).Geiser & Baer, Picasso Peintre-graveur, Catalogue raisonné de l'oeuvre grave, Volume VI, 1966-1968, Berne, 1989 (B.1136)Patrick Cramer, Pablo Picasso: The Illustrated Books Catalogue Raisonné, Geneva, 1983 (CR.123)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

PABLO PICASSO (1881-1973)Orage, Enlèvement, Poursuite, Série 347 signé et numéroté 11/50eau-forte et pointe-sèche Exécuté en 1968 dans une édition de 50 exemplaires Edité par la Galerie Louise Leiris, Paris, 1978. signed and numbered 11/50etching and drypointExecuted in 1968 and from the edition of 50 Published by Galerie Louise Leiris, Paris, 1978.36,4 x 47,4 cm.14 3/16 x 18 1/2 in.Footnotes:BibliographieGeorges Bloch, Catalogue de l'oeuvre gravé et lithographié, Volume II, 1904-1967, Berne, 1971 (Bl.1585)Geiser & Baer, Picasso Peintre-graveur, Catalogue raisonné de l'oeuvre grave, Volume VI, 1966-1968, Berne, 1994 (B.1601.II.B.b.1)This lot is subject to the following lot symbols: * AR* VAT on imported items at a reduced rate of 5.5% on the hammer price and the prevailing rate on buyer's premium if the item remains in EU. TVA sur les objets importés à un taux réduit de 5.5% sur le prix d'adjudication et un taux en vigueur sur la prime d'achat dans le cas où l'objet reste dans l'Union Européenne.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

PABLO PICASSO (1881-1973)Peintre ramassant son Pinceau, Le Chef-d'OEuvre Inconnu signé et numéroté 24/99 eau-forte sur vélin filigrané Van GelderExécuté en 1927 dans une édition de 99 exemplairesEdité par Ambroise Vollard, Paris, 1934.signed and numbered 24/99etching on watermarked Van Gelder wove paperExecuted in 1927 and from the edition of 99Published by Ambroise Vollard, Paris, 1934.38,5 x 50,2 cm.14 15/16 x 19 11/16 in.Footnotes:BibliographieGeorges Bloch, Catalogue de l'oeuvre gravé et lithographié, Volume I, 1904-1967, Berne, 1968 (Bl.88)Geiser & Baer, Picasso Peintre-graveur, Catalogue raisonné de l'oeuvre grave, Volume I, 1899-1931, Berne, 1990 (B.129.2a)Patrick Cramer, Pablo Picasso: The Illustrated Books Catalogue Raisonné, Geneva, 1983 (C.20)This lot is subject to the following lot symbols: * AR* VAT on imported items at a reduced rate of 5.5% on the hammer price and the prevailing rate on buyer's premium if the item remains in EU. TVA sur les objets importés à un taux réduit de 5.5% sur le prix d'adjudication et un taux en vigueur sur la prime d'achat dans le cas où l'objet reste dans l'Union Européenne.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

PABLO PICASSO (1881-1973)Gentilhomme, Femme honteuse et Reître, Série 347 singé et numéroté 37/50eau-forte sur vélin filigrané BFK RivesExécuté en 1968 dans une édition de 50 exemplaires Edité par Galerie L. Leiris, Paris.signed and numbered 37/50etching on BFK Rives wove paperExecuted in 1968 and from the edition of 50Published by Galerie L. Leiris, Paris.28 x 36,4cm.11 x 14 5/16in.Footnotes:BibliographieGeorges Bloch, Catalogue de l'oeuvre gravé et lithographié, Volume II, 1966-1969, Berne, 1971 (Bl.1699)Geiser & Baer, Picasso Peintre-graveur, Catalogue raisonné de l'oeuvre gravé, Volume VI, 1966-1968, Berne, 1990 (B.1715 Bb1)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

PABLO PICASSO (1881-1973)Petit Vieux flatté, la Célestine, Série 347 signé et numéroté 37/50eau-forte et aquatinteExécuté en 1968 dans une édition de 50 exemplaires Edité par Atelier Crommelynck, Paris. signed and numbered 37/50etching and aquatint on wove paperExecuted in 1968 and from the edition of 50 Published by Atelier Crommelynck, Paris.25 x 32,6 cm.9 13/16 x 12 13/16 in.Footnotes:BibliographieGeorges Bloch, Catalogue de l'oeuvre gravé et lithographié, Volume II, 1966-1969, Berne, 1971 (Bl.1630)Geiser & Baer, Picasso Peintre-graveur, Catalogue raisonné de l'oeuvre gravé, Volume VI, 1966-1968, Berne, 1990 (B.1646 Bb1)Patrick Cramer, Pablo Picasso: The Illustrated Books Catalogue Raisonné, Geneva, 1983 (C.149)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

PABLO PICASSO (1881-1973)Gamin se glissant dans un Hammam un Jour réservé aux Femmes, Série 347 signé et numéroté 30/50eau-forte et pointe-sèche sur vélin filigrané BFK RivesExécuté en 1968 dans une édition de 50 exemplairesEdité par Galerie Louise Leiris, Paris.signed and numbered 30/50etching and drypoint on watermarked BFK Rives paperExecuted in 1968 and from the edition of 50Published by Galerie Louise Leiris, Paris.62,8 x 80,5 cm.24 7/16 x 31 1/2 in.Footnotes:BibliographieGeorges Bloch, Catalogue de l'oeuvre gravé et lithographié, Volume II, 1966-1969, Berne, 1971 (Bl.1667)Geiser & Baer, Picasso Peintre-graveur, Catalogue raisonné de l'oeuvre gravé, Volume VI, 1966-1968, Berne, 1990 (B.1683 Bb1)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

PABLO PICASSO (1881-1973)Femme nue se couronnant de fleurs, La Suite Vollard eau-forte sur vélin Montval avec filigrane VollardExécuté en 1933 dans une édition de 260 exemplairesEdité par Ambroise Vollard, Paris, 1939etching on Montval laid paper with watermark VollardExecuted in 1933 and from the edition of 260 Published by Ambroise Vollard, Paris, 193945 x 34,2 cm. 17 11/16 x 13 3/8 in.Footnotes:ProvenanceAvec le cachet de Henri Marie Petiet (Lugt 5462) et son numéro de référence '195' rectoBibliographieGeorges Bloch, Catalogue de l'oeuvre gravé et lithographié, Volume II, 1904-1967, Berne, 1971 (Bl.135)Geiser & Baer, Picasso Peintre-graveur, Catalogue raisonné de l'œuvre gravé, Volume VI, 1966-1968, Berne, 1994 (B.195)This lot is subject to the following lot symbols: * AR* VAT on imported items at a reduced rate of 5.5% on the hammer price and the prevailing rate on buyer's premium if the item remains in EU. TVA sur les objets importés à un taux réduit de 5.5% sur le prix d'adjudication et un taux en vigueur sur la prime d'achat dans le cas où l'objet reste dans l'Union Européenne.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

PABLO PICASSO (1881-1973)L'Age de Soleil (Pour Roby) eau-forteExécuté en 1950 dans une édition de 114 exemplaires Edité par Robert Godet, Paris.etchingExecuted in 1950 and from the edition of 114Published by Robert Godet, Paris.31,8 x 25,3 cm.12 3/16 x 9 13/16 in.Footnotes:BibliographieGeorges Bloch, Catalogue de l'oeuvre gravé et lithographié, Volume I, 1904-1967, Berne, 1968 (Bl.680)Geiser & Baer, Picasso Peintre-graveur, Catalogue raisonné de l'oeuvre grave, Volume I, 1899-1931, Berne, 1990 (B.690)Patrick Cramer, Pablo Picasso: The Illustrated Books Catalogue Raisonné, Geneva, 1983 (C.57)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

PABLO PICASSO (1881-1973)Minotaure aveugle guidé par une petite Fille au pigeon, La Suite Vollard signéeau-forte, aquatinte et pointe-séche sur vélin Montval avec filigrane PicassoExécuté en 1934 dans une édition de 260 exemplairesEdité par Ambroise Vollard, Paris, 1939.signedetching with aquatint and drypoint, 1934, on watermarked Picasso Montval laid paperExecuted in 1934 and from the edition of 260Published by Ambroise Vollard, Paris, 1939.33,5 x 44,5 cm. 13 x 17 5/16 in.Footnotes:ProvenanceVente: Christie's, Londres, Old Master, Modern and Contemporary Prints, 20 juin 2000, lot 356Acquis dans cette vente par le propriétaire actuelBibliographieGeorges Bloch, Catalogue de l'oeuvre gravé et lithographié, Volume I, 1904-1967, Berne, 1968 (Bl.224).Geiser & Baer, Picasso Peintre-graveur, Catalogue raisonné de l'oeuvre gravé, Volume II, 1932-1934, Berne, 1992 (B. 436 IV.B.d).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

PABLO PICASSO (1881-1973)Femme assise et têtes barbues, La Suite Vollard signéeau-forte et aquatinte sur vélin de Montval avec filigrane VollardExecuté en 1934 dans une édition de 260 exemplairesEdité par Ambroise Vollard, Paris, 1939.signed in penciletching and aquatint on Montval laid paper with Vollard watermarkExecuted in 1934 and from the edition of 260Published by Ambroise Vollard, Paris, 1939.34 x 43 cm. 13 3/8 x 16 7/8 in.Footnotes:BibliographieGeorges Bloch, Catalogue de l'oeuvre gravé et lithographié, Volume I, 1904-1967, Berne, 1968 (Bl.216).Geiser & Baer, Picasso Peintre-graveur, Catalogue raisonné de l'oeuvre gravé, Volume II, 1932-1934, Berne, 1992 (B.416.VI.B.d).This lot is subject to the following lot symbols: * AR* VAT on imported items at a reduced rate of 5.5% on the hammer price and the prevailing rate on buyer's premium if the item remains in EU. TVA sur les objets importés à un taux réduit de 5.5% sur le prix d'adjudication et un taux en vigueur sur la prime d'achat dans le cas où l'objet reste dans l'Union Européenne.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

PABLO PICASSO (1881-1973)Sculpteur Songeant, modèle aux cheveux noirs et bol avec trois anémones, La Suite Vollard signéeau-forte sur vélin de Montval avec filigrane VollardExecuté en 1933 dans une édition de 260 exemplaires Edité par Ambroise Vollard, Paris, 1939.signed etching on Montval laid paper with watermark VollardExecuted in 1933 and from the edition of 260 Published by Ambroise Vollard, Paris, 1939.44.5 x 34cm 17 1/2 x 13 3/8 in.Footnotes:BibliographieGeorges Bloch, Catalogue de l'oeuvre gravé et lithographié, Volume I, 1904-1967, Berne, 1971 (Bl.177)Geiser & Baer, Picasso Peintre-graveur, Catalogue raisonné de l'oeuvre grave, Volume II, 1932-1934, Berne, 1992 (B.330.B.d)This lot is subject to the following lot symbols: * AR* VAT on imported items at a reduced rate of 5.5% on the hammer price and the prevailing rate on buyer's premium if the item remains in EU. TVA sur les objets importés à un taux réduit de 5.5% sur le prix d'adjudication et un taux en vigueur sur la prime d'achat dans le cas où l'objet reste dans l'Union Européenne.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

AFTER PABLO PICASSOThree dancers Etching, 27.5 x 19cm (image size); 47.5 approx (partially turned under the backboard) x 34.5cm (sheet size)Signed Print after the edition of 14 copper engravings published as part of the book Grâce et Mouvement, Louis Groscalude, Zurich, 1943. This example is larger in size to the those original engravings 

BRIAN O'DOHERTY (PATRICK IRELAND) (1928-2022)The Red Corpuscles of the Blue Blooded Doctor, 2004Two-plate etching, 65 x 54cm Signed, numbered 18/20 and dated (20)'04

PAMELA LEONARD (B.1940)Spring MorningEtching, 32.5 x 44.5cm (sheet size)Signed, titled and no. 6/19

PAMELA LEONARD (B.1940)Summer MeadowEtching, 37 x 47cm (sheet size)Signed, titled and no. 4/30

MARY A. FITZGERALDShrine Mouth- 5 Etching, edition 13/15, 22 x 14.5cmSigned and inscribed

‡ A COMPOSITE NORTH ITALIAN CAP-A-PIE ARMOUR WITH ETCHED DECORATION, LATE 16TH CENTURY comprising morion in the ‘Spanish’ fashion, with one-piece almond-shaped crown rising at its apex to a vestigial backward-directed 'stalk', and slightly down-turned narrow integral brim projecting to an obtuse ‘point’ front and rear, its edge formed with a file-roped inward turn accompanied by a narrow groove with later brass rivets, fitted at the nape with a later brass plume-holder, and the base of the crown encircled by fourteen brass-capped lining-rivets with brass rosette-washers; collar of a deep main plate front and rear surmounted in each case by a restored upper extension-lame; breastplate formed of a main plate of deep 'peascod' fashion, fitted at its arm-openings with fixed gussets (restored) and flanged outwards at its lower edge to receive a pair of pendent tassets attached in each case by three modern straps, and formed of nine simulated lames (cracked and patched across the width in two places); backplate formed in one piece and flanged outwards at its base; two large symmetrical pauldron (not a pair) formed of seven lames overlapping outwards from the third and largest, the lower four extending inwards only to the armpit; a pair of fully articulated tubular vambraces, each fitted at its upper end with a turner of one lame, and at its elbow with a winged bracelet couter of three lames; two gauntlets (not a pair) each formed of a flared and round-ended tubular cuff, four metacarpal-plates, and a shaped knuckle-plate (thumb-plate and finger-scales restored and partly lost); a pair of cuisses (restored) each formed of a gutter-shaped main plate rising to a convex upper edge and fitted at its lower edge with a poleyn of four lames formed at the outer end of its second with a small medially-puckered oval side-wing, both cuisses engraved in a panel on the inside ‘jambière fait en Suisse 1914 gravé par R. Bartel 1916. 1 cotté de molette ancient, 2 grèves fait R. Bartel 1916’; and a pair of greaves (restored) each open at the rear and formed of two plates joined by hinges, the rear plate of the right greave painted in red ‘ancient part’ and a pair of toe-caps each engraved on the inside ‘piece fait en Suisse 1914 gravé par R. Bartel 1916’; the main edges of the armour formed almost throughout with file-roped inward turns, and its surfaces decorated in bands and borders with etching on a stippled and blackened ground, that of the morion consisting of four warriors in strapwork cartouches, divided by trophies-of-arms within cabled borders, the remaining surfaces with bands of warriors, fabulous beasts, birds and trophies of arms within cabled borders framed by plain lines, and the breastplate, backplate and pauldrons with volutes filled with portrait profiles (the pauldrons, vambraces and gauntlets with restorations and showing extensive wear, the cuisses and greaves restored, the etching with restorations); all on a wooden stand with base Provenance Bashford DeanThe Cleveland Museum of Art, sold: Arms and Armor mainly removed from a Midwestern Educational Institution, Parke-Bernet Galleries Inc., 30th March 1961, lot 205 ($325 to Kindig)Joe Kindig Jr. (1898-1971), thence by descent LiteratureHelen Ives Gilchrist, A Catalogue of the Collection of Arms and Armor presented to the Cleveland Museum of Art, Cleveland 1924, pp. 31-32 no. A10. Part proceeds to benefit the Acquisition Fund of the Arms and Armor department, The Metropolitan Museum of Art, New York.

‡ A COMPOSITE NORTH ITALIAN CORSLET WITH ETCHED DECORATION PARTLY BY THE 'MASTER OF THE CASTLE' OF MILAN, LATE 16TH CENTURY comprising morion in the ‘Spanish’ fashion, with one-piece almond-shaped crown rising at its apex to a vestigial backward-directed 'stalk' (pierced with a small later hole at its rear), and slightly down-turned narrow integral brim, its edge formed with a file-roped inward turn accompanied by a narrow groove with later rivets, the base of the crown encircled by fourteen later lining-rivets with brass rosette-washers; collar of a single deep plate front and rear; breastplate formed of a main plate of deep 'peascod' fashion, flanged outwards at its lower edge to receive a pair of associated pendent tassets each of four lames (altered to match and partly disarticulated); well-matched backplate flanged outwards at its base; two large symmetrical pauldrons (not a pair), each formed of seven lames of which the lowest four extend inwards only to the armpit (both partly disarticulated), two large symmetrical pauldrons (not a pair), each formed of seven lames of which the lowest four extend inwards only to the armpit (the uppermost two of each associated), a pair of fully articulated tubular vambraces, each fitted at its upper end with a turner of one lame, and at its elbow with a winged bracelet couter of three lames; and a pair of gauntlets each formed of a flared tubular pointed cuff (the right with small rust perforations), four metacarpal-plates (the third of the left cracked and patched at its inner end), a shaped knuckle-plate, and hinged thumb-plate (finger and thumb-scales missing); the main edges of the armour formed almost throughout with file-roped inward turns, the vambraces and gauntlets with file-roped secondary borders and its surfaces decorated with etching on a stippled and blackened ground, that of the morion consisting of eight radiating bands of trophies of arms framed by cabling within plain lines, and the brim with stylised acanthus foliage (areas of wear), and that of the remainder consisting of bands and borders of trophies of arms generally enclosed by narrow bands of cabling and enclosing in the interspaces and volutes on the fronts and rears of the pauldrons, busts and full-length figures of classical warriors, and involving at the neck-opening of the breastplate the device of a two-towered castle; on a wooden stand with base Provenance Joe Kindig Jr. (1898-1971), thence by descent The device of a castle etched at the neck-opening of the breastplate represents the signature of one of the most important Milanese armourers of the late 16th century, know to scholars today as the 'Master of the Castle'. It is possible that he, like his contemporary, Pompeo della Chiesa, was privileged to work in the Castello Sforzesco, residence of the Dukes of Milan. Other extant works bearing his signature include the fine garniture made for Wolf Dietrich von Raitenau, Prince Bishop of Salzburg, probably after 1587, and now divided between the Bayerisches Nationalmuseum, Munich, the Wallace Collection, London, and the Hermitage Museum, St Petersburg, as well as various armours preserved in the Museo Civico L. Marzoli, Brescia, the Real Armeria, Turin, the Real Armeria, Madrid, the Musée de l'Armée, Paris, and the Wallace Collection, London. See Beard 1924, pp. 11-12; Norman 1986, pp. 29, 32-3 & 36-7; and LaRocca 2000, pp. 181-97. A composite North Italian etched corselet with the same mark, formerly in the John Woodman Higgins Armoury Collection, Worcester Massachusetts, was sold in this room 7th May 2014, lot 138. Part proceeds to benefit the Acquisition Fund of the Arms and Armor department, The Metropolitan Museum of Art, New York.

‡ A NORTH ITALIAN CUIRASS WITH ETCHED DECORATION, PROBABLY MILANESE, CIRCA 1590-1600 comprising breastplate with heavy main plate of late 'peascod' fashion, formed with shallow neck and arm-openings, flanged outwards at its base, etched in borders around its neck and arm-openings and in seven diverging vertical bands with bands of interlacing strapwork, enclosed in each case by narrower bands of guilloche and engrailing, and involving oval cartouches enclosing classical subjects, fantastic animals and large overlapping crossover knots, fitted at the arm-openings with associated roped gussets, and matching one-piece backplate (extensive patination and wear throughout, the etching partly obscured), 46.0 cm high (2) Provenance Joe Kindig Jr. (1898-1971), thence by descent The etched decoration of the cuirass is of a pattern employed by several Milanese armourers of the late 16th century, including one who signed himself with the initials IFP on a half armour in the Art Institute, Chicago, (Acc. No. 1982.2194), another who signed himself with a triple-towered castle on a visor and bevor in the same collection (Acc. No. 1982.2493) and most particularly with Pompeo della Chiesa, recorded 1571-93, who had his workshop in the Castello Sforzesco, Milan (see Norman 1986, p. 31). The knot device is employed by the ducal family of Savoy and features on the armour of Carl Emanuel I, Duke of Savoy (1562-1630) as well as other, unrelated armours of this period. See Bertlolotto et al 1982, pp. 39-40. Part proceeds to benefit the Acquisition Fund of the Arms and Armor department, The Metropolitan Museum of Art, New York.

After William Hogarth, 18th century The Four Times of the Day (Morning, Noon, Evening & Night)a set of four hand-coloured engravings on laid paper35.5 x 25cm (Pl.), in period frames;together with New London Cries or All the Talents Making Themselves Useful!, published by E. Walkercoloured etching 1807, 33 x 47cm

§ IAN FLEMING R.S.A., R.S.W., R.G.I., L.L.D. (SCOTTISH 1906-1990) GLASGOW SCHOOL OF ART Etching, 3/25, signed, numbered and inscribed to margin;and a companion, 'Botanic Gardens' Etching, 5/25, signed, numbered and inscribed to marginDimensions:the image 25cm x 17.25cm (9.75in x 6.75in); the image 21.25cm x 27.5cm (8.5in x 10.75in)

§ GERALD LESLIE BROCKHURST (BRITISH 1890-1978) ANAÏS NO.2 - 1930 Etching, signed in pencil to margin lower left, signed to plate lower right and dated to plate lower left, with further indistinct signature to plate upper-rightDimensions:the image 24.25cm x 19.25cm (9.75in x 7.5in)

§ DAME ELIZABETH BLACKADDER O.B.E., R.A., R.S.A., R.S.W., R.G.I., D.Litt (SCOTTISH 1931-2021) FORTUNE TELLER, KYOTO - 1990 Etching, 29/30, signed and numbered in pencil to margin, published by Glasgow Print Studio, with their blindstampDimensions:plate size 25cm x 35.5cm (9.75in x 14in)

§ DAME ELIZABETH BLACKADDER O.B.E., R.A., R.S.A., R.S.W., R.G.I., D.Litt (SCOTTISH 1931-2021) RED STILL-LIFE - 1989 Etching and aquatint, Artist's Proof, aside from the edition of 50, signed and inscribed in pencil to marginDimensions:the sheet 35.5cm x 40.5cm (14in x 16in)

B. Kelly (Contemporary) 'Untitled figure', etching, numbered 7/40, signed in pencil lower right, 16cm x 18cmProvenance: Bears Rowley Gallery label to the reverse.The collection of Paul Whitfield (1942–2018)Overall minimal display wear as expected, otherwise seems ok.

John Shapland (1865-1929) and Walter Henry Sweet (1889-1943) 'Santa Maria Della Salute, Venice', etching, signed in pencil lower left and right, 32cm x 22cm, another scene of Venice by the same artists, etching and aquatint, signed in pencil lower left and right, 32cm x 22cm and one other by another artist 'Untitled view of Exeter', signed in pencil lower right, 38cm x 26cm (3)Overall foxing, wear and losses to the frames. No major holes, tears or damage to the pictures themselves. Frames and back boards are not original.