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Preisdatenbank abonnierenδ Leon Kossoff (1926-2019)RestingEtching, 1983, signed and dated in pencil, numbered from the edition of 60, printed by Studio Prints, London, published by Bernard Jacobson Gallery, London, on wove paper, with full margins, sheet 510 x 597mm (20 x 23 1/2in)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Jasper Johns (b. 1930)Small Flashlight, from 1st Etchings, 2nd State (ULAE 58)Etching with aquatint, 1967-1969, signed, dated and numbered from the edition of 40 in pencil, from 1st Etchings, 2nd State, printed and published by Universal Limited Art Editions, New York, with their blindstamp, on Auvergne paper, with full margins, sheet 656 x 500mm (25 7/8 x 19 3/4in)
Rembrandt van Rijn (1606-1669)The Pancake WomanEtching, 1635, but a later impression of New Hollstein's seventh state (of seven), slightly slipped impression printing with tone on laid paper without watermark, platemark 107 x 77 mm (4 1/4 x 3 in), sheet 109 x 80 mm (4 5/8 x 3 1/2 in), laid onto support, small nick to hat, (unframed)Literature:Hind 141; New Hollstein 144 vii/vii
Rembrandt van Rijn (1606-1669)Self-portrait in a Velvet Cap with PlumeEtching, 1638, but later impression of New Hollstein's final state (of four), printing with plate tone tone on thick laid paper without watermark, some wear in the plate visible, platemark 135 x 103 mm (5 1/4 x 4 1/8 in), sheet 144 x 114 mm (5 5/8 x 4 1/2 in), very faint stain in the upper right quadrant, mainly visible verso (unframed)Literature:Bartsch 20; New Hollstein 170 iv/iv
Roy Lichtenstein (1923-1997)Illustration for 'De Denver au Montana, Départ 27 Mai 1972' (I), from La Nouvelle Chute de l'Amérique (Corlett 275)Etching with aquatint printed in colours, 1992, initialled in pencil, numbered from the edition of 80, printed by Atelier Dupont-Visat, published by Les Editions du Solstice, Paris, on Arches paper, with full margins, sheet 351 x 485mm (13 7/8 x 19in)
Rembrandt van Rijn (1606-1669)A Peasant in a High Cap, Standing Leaning on a StickEtching, 1639, a good impression of New Hollstein's second state (of two), without any re-work but with the two dots in the upper right corner, on thin wove paper without watermark, sheet 84 x 45 mm (3 1/4 x 1 3/4 in), trimmed within the platemark (unframed)Literature:Bartsch 133; New Hollstein 178 ii/ii
Rembrandt van Rijn (1606-1669)The Angel Departing from the Family of TobiasEtching, 1641, but a later impression of New Hollstein's eighth state (of nine), on laid paper without watermark, platemark 105 x 154 mm (4 1/8 in x 6 in), sheet 115 x 165 mm (4 1/2 x 6 1/2 in), numbered '42' in brown ink to lower right margin, old handling creases, minor surface dirt (unframed)Literature:Bartsch 43; New Hollstein 189 ix/ix
Rembrandt van Rijn (1606-1669)The Card PlayerEtching, 1641, a good but later impression of New Hollstein's fifth state (of five), on thick laid paper without watermark, platemark 90 x 81 mm (3 5/8 x 3 1/4in), sheet 92 x 85 mm (3 7/8 x 3 1/2in), minor even toning (unframed)Literature:Bartsch 136; New Hollstein 193 v/v
Rembrandt van Rijn (1606-1669)Abraham and IsaacEtching and drypoint, 1645, a good but later impression of New Hollstein's second state (of two) with the added stroke to the right shoulder of Abraham, on laid paper without watermark, platemark 157 x 130 mm (6 1/4 x 5 1/8 in), sheet 162 x 132 mm (6 3/8 x 5 1/4 in) (unframed)Literature:Bartsch 34; New Hollstein 224 ii/ii
** Rembrandt van Rijn (1606-1669)A Beggar Woman Leaning on a StickEtching, 1646, a very good albeit 18th century impression of New Hollstein's third state (of five), with the cross and two dots but before later rework, on cream laid paper without watermark, platemark 82 x 64 mm (3 1/4 x 2 1/2 in), thread margins (unframed)Literature:Bartsch 170; New Hollstein 229 iii/v** This lot has been imported from outside the United Kingdom to be sold at auction under temporary importation, and therefore the buyer must pay the import VAT at a rate of 5%. On proof of export outside the United Kingdom, this duty can be refunded.
Rembrandt van Rijn (1606-1669)Jews in the synagogueEtching and drypoint, 1648, a good impression of New Hollstein's fourth state (of nine), with some very fine shading reworked with mezzotint rocker, but well before later more coarse rework, on fine laid paper without watermark, sheet 72 x 131 mm (2 7/8 x 5 1/4 in), trimmed to or just within the platemark (unframed)Literature:Bartsch 126; New Hollstein 242 iv/ix
** Rembrandt van Rijn (1606-1669)Clement de Jonghe, PrintsellerEtching and drypoint, 1651, a good impression of New Hollstein's seventh state (of ten), probably printed late 17th or 18th century on cream laid paper with partial watermark of Strasbourg Lily, platemark 207 x 160 mm (8 1/8 x 6 1/2 in), sheet 223 x 174 mm (8 3/4 x 6 7/8 in), minor spotting and surface dirt (unframed)Provenance:J.E. Wetterauer, Stuttgart [L. 3183]Literature:Bartsch 272; New Hollstein 264 vii/x** This lot has been imported from outside the United Kingdom to be sold at auction under temporary importation, and therefore the buyer must pay the import VAT at a rate of 5%. On proof of export outside the United Kingdom, this duty can be refunded.
Rembrandt van Rijn (1606-1669)Peasant Family on the TrampEtching, circa 1652, but a later impression of New Hollstein's final state (of three), showing the redrawn outline of the woman's hat, on cream laid paper without watermark, platemark 114 x 92 mm (4 1/2 x 3 5/8 in), sheet 117 x 94 mm (4 1/2 x 3 5/8 in) (unframed)Literature:New Hollstein 266 iii/iii
Rembrandt van Rijn (1606-1669)The Circumcision in the StableEtching with touches of drypoint, circa 1654, but a later impression of New Hollstein's final state (of five), on cream laid paper without watermark, sheet 94 x 144 mm (3 3/4 x 5 1/2 in), sheet 98 x 148 mm (3 7/8 x 5 3/4 in), small margins with some minor toning to sheet (unframed)Literature:Bartsch 47; New Hollstein 280 v/v
Rembrandt van Rijn (1606-1669)Christ and the Woman of Samaria: An arched PrintEtching, 1657, a good well inked albeit later impression of New Hollstein's fourth state (of five), before further rework, on laid paper without watermark, sheet 125 x 160 mm (4 7/8 x 6 1/4 in), trimmed to or just within the platemark, very small scuff to left of woman, minor surface dirt(unframed)Literature:Bartsch 70; New Hollstein 302 iv/v
Rembrandt van Rijn (1606-1669)The Adoration of the Shepherds: A Night PieceEtching, circa 1652, but a later impression of New Hollstein's ninth state (of eleven), on thick laid paper without watermark, platemark 147 x 197 mm (5 3/4 x 7 3/4 in), sheet 158 x 208 mm (6 1/4 x 8 1/4 in), faint numbering in pencil to lower right margin (unframed)Literature:Bartsch 46 vii/vii; New Hollstein 300 ix/xi
Giovanni Battista Piranesi (1720-1788)Altra Veduta del tempio della Sibilla in TivoliEtching and engraving, 1761, a very good well inked impression of Hind's second state (of four), on thick laid paper, platemark 615 x 430 mm (24 1/4 x 16 7/8 in), sheet 690 x 490 mm (27 1/4 x 19 1/4 in), minor cockling and drying creases (framed)Provenance:Michael Finney, 31 Museum Street, London (stamp to reverse of frame)Literature:Hind 63 ii/iv
Giovanni Battista Piranesi (1720-1788)Veduta della Piazza di Monte Cavallo; Veduta della Piazza della RotondaTwo works, etching and engraving, circa 1760-1778, the first mentioned Hind's fourth state (of six), the latter the fourth state (of seven), both excellent impressions on thick Italian laid paper with watermark of double-encircled fleur-de-lis [Hind's watermark no. 3], each platemark approx. 385 x 540 mm (15 1/4 x 21 1/4 in), sheets 515 x 750 mm (20 1/4 x 29 1/2 in), English translations of the numbered key in ink underneath, possibly contemporary, central drying creases strengthened verso, left margins with adhesive remains (unframed)Together with:Five other slightly compromised Piranesi engravings, which include the title page for Vedute di Roma [Hind 1 iii/v], Veduta del Porto di Ripetta [Hind 28 vii/viii], with the following three with margins trimmed and mounted on card, Veduta del Tempio di Giove Tonante [Hind 44 iii/vi], Veduta della vasta Fontana di Trevi anticamente detta l'Acqua Vergine [Hind 19 iv/vii], Veduta del piano superiore del Serraglio delle Fiere [Hind 43 iii/vi] (unframed) (7)
** Rembrandt van Rijn (1606-1669)A Scholar in his Study ('Faust')Etching and drypoint, circa 1652, but a later impression of New Hollstein's fifth or sixth state (of seven) on laid paper without watermark, sheet 214 x 160 mm (8 1/4 x 6 1/4 in), laid onto support, with careful repair to lower left corner, repaired tear to lower right edge, further signs of restoration within the image(unframed)Literature:Bartsch 270; New Hollstein 270 v-vi/vii** This lot has been imported from outside the United Kingdom to be sold at auction under temporary importation, and therefore the buyer must pay the import VAT at a rate of 5%. On proof of export outside the United Kingdom, this duty can be refunded.
δ Marc Chagall (1887-1985)Le Corbeau Voulant Imiter l'Aigle pl.23, from Fables de la Fontaine (Cramer 22)Etching, 1952, signed and inscribed with plate number in pencil, from the edition of 200, printed by Maurice Potin, Paris, on Montval laid paper, with full margins, sheet 420 x 335mm (16 1/2 x 13 1/8in)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
δ Marc Chagall (1887-1985)La Fenêtre de l'atelier à Saint-Paul (Cramer 25)Etching, 1968, signed in pencil, numbered from the edition of 50, on wove paper, with full margins, sheet 288 x 250mm (11 1/4 x 9 3/4in)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
δ Marc Chagall (1887-1985)Title-page for Les Sept Péchés Capitaux (Kornfeld 47, See Cramer 7)The original unique copper plate for the etching, 1925, printed by Louis Fort, Paris, 165 x 107mm (6 5/8 x 4 1/4in)This set of Chagall's copper plates were used by the artist to print his Les Sept Péchés Capitaux ('The Seven Deadly Sins') series, published in 1926. The set of 16 etchings were created to illustrate a book of the same title, which included texts by eminent writers of the day: Jean Giraudoux (Pride), Paul Morand (Avarice), Pierre Mac Orlan (Lust), André Salmon (Envy), Max Jacob (Gluttony), J. de Lacretelle (Anger) et Joseph Kessel (Laziness). The frontispiece typifies Chagall's wry sense of humour predicated on self-deprecation. The self-portrait of the artist at his easel embodies Envy, whilst comically balancing the heads of the six other deadly sins on his head. These unique pieces offer an unparalleled insight into the artistic process of a master printmaker and are one-of-a-kind collector's items.δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Rembrandt van Rijn (1606-1669)The Presentation in the Temple: Oblong PlateEtching, drypoint and engraving, circa 1639, a good but later impression of New Hollstein's fourth state (of five), printing with light plate tone on laid paper without watermark, platemark 213 x 290 mm (8 3/5 x 11 1/2 in), sheet 216 x 294 mm (8 1/2 x 11 5/8 in), small margins (unframed)Literature:Bartsch 49; New Hollstein 184 iv/v
δ Marc Chagall (1887-1985)Lust III (Supplemental Plate) for Les Sept Péchés Capitaux (Kornfeld 62, See Cramer 7)The original unique copper plate for the etching, 1925, printed by Louis Fort, Paris, 170 x 117mm (6 3/4 x 4 5/8in)This set of Chagall's copper plates were used by the artist to print his Les Sept Péchés Capitaux ('The Seven Deadly Sins') series, published in 1926. The set of 16 etchings were created to illustrate a book of the same title, which included texts by eminent writers of the day: Jean Giraudoux (Pride), Paul Morand (Avarice), Pierre Mac Orlan (Lust), André Salmon (Envy), Max Jacob (Gluttony), J. de Lacretelle (Anger) et Joseph Kessel (Laziness). These unique pieces offer an unparalleled insight into the artistic process of a master printmaker and are one-of-a-kind collector's items.δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
δ Marc Chagall (1887-1985)Avarice III (Unpublished Plate), for Les Sept Péchés Capitaux (Kornfeld 63, See Cramer 7)The original unique copper plate for the etching, 1925, printed by Louis Fort, Paris, 110 x 171mm (4 3/8 x 6 3/4in)This set of Chagall's copper plates were used by the artist to print his Les Sept Péchés Capitaux ('The Seven Deadly Sins') series, published in 1926. The set of 16 etchings were created to illustrate a book of the same title, which included texts by eminent writers of the day: Jean Giraudoux (Pride), Paul Morand (Avarice), Pierre Mac Orlan (Lust), André Salmon (Envy), Max Jacob (Gluttony), J. de Lacretelle (Anger) et Joseph Kessel (Laziness). These unique pieces offer an unparalleled insight into the artistic process of a master printmaker and are one-of-a-kind collector's items.δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
δ Marc Chagall (1887-1985)Avarice IV (Supplemental Plate) for Les Sept Péchés Capitaux (Kornfeld 64, See Cramer 7)The original unique copper plate for the etching, 1925, printed by Louis Fort, Paris, 110 x 170mm (4 1/4 x 6 5/8in)This set of Chagall's copper plates were used by the artist to print his Les Sept Péchés Capitaux ('The Seven Deadly Sins') series, published in 1926. The set of 16 etchings were created to illustrate a book of the same title, which included texts by eminent writers of the day: Jean Giraudoux (Pride), Paul Morand (Avarice), Pierre Mac Orlan (Lust), André Salmon (Envy), Max Jacob (Gluttony), J. de Lacretelle (Anger) et Joseph Kessel (Laziness). These unique pieces offer an unparalleled insight into the artistic process of a master printmaker and are one-of-a-kind collector's items.δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
** δ Marc Chagall (1887-1985) after.L'Horloge (Maeght 1202)Etching with aquatint printed in colours, circa 1950, signed in pencil, numbered from the edition of 300, printed by G. Visat, published by Maeght, Paris, with margins, sheet 397 x 310mm (15 5/8 x 12 1/4in)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.** This lot has been imported from outside the United Kingdom to be sold at auction under temporary importation, and therefore the buyer must pay the import VAT at a rate of 5%. On proof of export outside the United Kingdom, this duty can be refunded.
** Rembrandt van Rijn (1606-1669)The Raising of Lazarus: The Small PlateEtching with touches of drypoint, 1642, a very good impression of New Hollstein's first state (of two) printing with clarity and before any rework, the fine drypoint strokes to Lazarus's forehead present, platemark 150 x 114 mm (5 7/8 x 4 1/2 in), thread margins, small repair to hole in upper left quadrant, minor spotting (unframed)Provenance:Possibly with Colnaghi & Co., London [bears pencil stock number verso 'C. 2033'] Literature:Bartsch 72; Hind New Hollstein 206 i/ii** This lot has been imported from outside the United Kingdom to be sold at auction under temporary importation, and therefore the buyer must pay the import VAT at a rate of 5%. On proof of export outside the United Kingdom, this duty can be refunded.
δ Marc Chagall (1887-1985)The Child and the Schoolmaster pl. 10, from La Fontaine Fables (Cramer 22)Etching, 1952, signed and inscribed with the plate number in pencil, from the edition of 100, printed by Maurice Potin, published by Tériade Éditeur, Paris, on Montval laid paper, with full margins, sheet 419 x 330mm (16 3/8 x 13in)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
δ Salvador Dalí (1904-1989)Pomme Dragon, from Flordali (M&L 344a)Etching and lithograph printed in colours, 1969/1970, signed in pencil, numbered in Roman numerals from the edition of XXXV, printed by Ateliers Rigal, Paris, published by Werbungs- und Commerz Union Anstalt, on Japon nacré paper, with margins, sheet 755 x 565mm (29 3/4 x 22 1/4in)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Rembrandt van Rijn (1606-1669)The Raising of Lazarus: The Larger PlateEtching and engraving, circa 1632, a good but later impression of New Hollstein's final state (of nine), heavily inked and printing with strong contrasts on thick wove paper, platemark 368 x 258 mm (14 1/2 x 10 1/4 in), sheet 475 x 342 mm (18 3/4 x 13 1/2 in), faint exposure lines, scattered spotting (unframed)Literature:New Hollstein 113 ix/ix
δ Salvador Dalí (1904-1989)St George & the Dragon (Field 78-1)Soft-ground etching with hand-colouring in gold glitter, 1978, signed in pencil, numbered from the edition of 150, on Japan paper, with full margins, sheet 765 x 567mm (30 1/8 x 22 1/3in)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Rembrandt van Rijn (1606-1669)The PersianEtching, 1632, but a later impression of New Hollstein's final state (of three), printing with plate tone on thick laid paper without watermark, sheet 109 x 79 mm (4 1/4 x 3 1/8 in), thread margins (unframed)Literature:Bartsch 152; New Hollstein 110 iii/iii
Rembrandt van Rijn (1606-1669)Self Portrait with SaskiaEtching, 1636, New Hollstein's third state (of four) before further reworking, some minor wear in the densely cross-hatched areas with touches of grey wash present, on sturdy laid paper without watermark, platemark 105 x 93 mm (4 1/8 x 3 5/8 in), sheet 107 x 95 mm (4 1/4 x 3 1/4 in), thread margins, minor toning (unframed)Literature:New Hollstein 158 iii/iv
δ Henri Matisse (1869-1954)Nu au fauteuil pl. 210 (Duthuit 245)Etching, 1935, signed in pencil, numbered from the edition of 25, chine collé supported on Arches paper, with full margins, sheet 380 x 277mm (14 7/8 x 10 7/8in)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
δ Joan Miro (1893-1983)Chanteur des Rues (Dupin 1137)Etching with aquatint printed in colours, 1981, signed in pencil, numbered from the edition of 80, printed by Maeght, published by Daniel Lelong, Paris, on Arches paper, with full margins, sheet 565 x 420mm (22 1/4 x 16 1/2in)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
A 18th century George III mahogany pedestal reading lectern stand originally owned by The Right Hon Sir Charles James Fox (1749-1806) and comes complete with an original 19th century etching, framed and glazed of Sir Charles James Fox after Sir Joshua Reynolds. Hand written label to verso of lectern with provenance & history.
Khayyám (Omar) The Rubaiyat, one of 750 copies, illustrated by Willy Pogany, with an original etching signed by the artist, 12 colour plates tipped-in, black and white vignettes, contemporary decorative morocco, small stain to upper cover, spine a little sunned, 1930 § Potter (Beatrix) The Tale of the Faithful Dove, first edition, one of 100 copies, usual browning to free endpapers, original cloth, dust-jacket, very minor dust-soiling to edges and folds, but overall an excellent copy, [Linder 432; V&A pp.1236-1238 & 1715; Taylor, Whalley, Hobbs, Battrick p.168], Warne, 1955 § Cinderella. one of 850 copies with colour frontispiece and signed by the illustrator, illustrated by Arthur Rackham, small ink ownership inscription, some light off-setting, original cloth-backed boards, corners bumped, dust-jacket, slightly chipped and stained, 1919 § Froude (James A.) The Cat's Pilgrimage, first edition, 6 plain plates by Jemima Blackburn, bookplate, contemporary half calf, Edinburgh, 1870; and 5 others children and illustrated, v.s. (9)
Private Press.- Wynne (Ellis) Gweledigatheu y Bardd Cwsc: Visions of the Sleeping Bard, translated by T. Gwynn Jones, one of 175 copies, text in Welsh and English, wood-engraved frontispiece by Blair Hughes-Stanton, original red morocco-backed patterned cloth, spine ruled in gilt, very minor scuffing to extremities, uncut, with a 4pp. publisher's extract and advertisement loosely inserted (browned), Newtown, Gregynog Press, 1940 § Ellis (Havelock) Chapman, one of 75 specially-bound copies, browning to end papers, original russet morocco, spine with title and a ladder of horizontal rules in gilt, some minor marking, t.e.g., others uncut, Nonesuch Press, 1934 § Cocteau (Jean) Tempest of Stars, Selected Poems, translated by Jeremy Reed with drawings by David Austen, edition "C", one of 15 copies signed by the translator and illustrator and with a signed original etching, from a total edition of 87, text bifolia and 26 offset colour lithographs, all loose as issued in original drop-back box, paper labels to cover and spine, Enitharmon Press, 1992 § H.P.M. Harold Patrick McGrath. one of 100 signed by McGrath and Robinson, an original etching by Alan Robinson (portrait frontispiece), portrait print of McGrath by Ned Gray in pocket at rear, illustrations by many, original paper-covered boards with mounted paper labels, Easthampton (MA), Cheloniidae Press, 1991; and 7 others, including Golden Cockerel, Stanbrook Abbey, Roycroft, Incline, and others, v.s. (11)
Britain.- Winkles (Henry & Benjamin) Architectural and Picturesque Illustrations of the Cathedral Churches of England and Wales, 3 vol., additional engraved titles, 176 engraved plates, previous owner's ink signature to additional titles, scattered spotting and staining, contemporary half-calf, rubbed, bumping to corners and extremities, 1836-42 § Capper (Benjamin Pitt) Topographical Dictionary of the United Kingdom ..., loss to title head affecting text, 46 engraved maps only (of 47), 7 linen-backed and folding, scattered spotting and staining, occasional short marginal tear or small marginal loss, contemporary calf, rebacked, rubbed and worn, 1825 § Evershed (Arthur) An Etcher's Rambles. 1st Series, The Thames, 12 mounted etching, one becoming loose, faint marginal spotting, loose as issued, housed in original defective portfolio, rubbed and worn, covers detached, n.d.; previous owner's discreet blind-stamp at end, and others similar, v.s. (25)
§ Richard Bawden RWS, NEAC, RE (British 1936-) Southwoldsigned 'Richard Bawden' (lower right); numbered 42/75etching and aquatint34 x 47cmNot examined out of the frame. Condition is generally good, though there is some negligible undulation to the surface visible under raking light and the outer margins are typically toned commensurate with age, though this is light and uniform. Flies beneath glass but they are largely confined to the mountboard and not the image itself.
§ Sir Terry Frost RA (1915-2003) Untitledsigned and dated 'Terry Frost 95' (lower right); numbered 1/20 (lower left)etching49 x 48cmProvenance:Private collection, NorfolkNot examined out of the frame. Deckled edges on all side, appears to be mounted to backboard at each corner and as a result there is some very slight undulation. The glazing is a little dirty, but the sheet is clean from foxing and accretions.
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