78472 Preisdatenbank Los(e) gefunden, die Ihrer Suche entsprechen

Kunstnachlass, 10 Arbeiten von: Jean Michel Basquiat, Elvyra Katalina Kriaučiūnaitė (Lithuania), Bruce Onobrakpeya (Nigeria), Dieter Olaf Klama, Johannes Heisig, Günther Huniat, meist in Galerierahmungen, daher für Selbstabholer - kein Versand !!Jean Michel Basquiat, 1960 - New York - 1988, "Puzzle", Giclee-Druck auf Lwd.,56 x 195 cm -- Elvyra Katalina Kriaučiūnaitė, 1942 Buenos Aires - lebt und arbeitet in Vilnius, bedeutende litauische Grafikerin, 2 Blatt aquarellierte Prägedrucke (sign. & numm. Unikate je 2/15) -- Bruce Onobrakpeya, 1932 Agbarha-Otor in Bendel State, aufgewachsen im Nigerdelta, ab 1957 Kunststudium in Zaria, bedeutender nigerianischer Maler und Bildhauer, "Fligth to Egypt III", "deep etching", sign. u. dat. 1982 (He has exhibited at the Tate Modern in London, the National Museum of African Art of the Smithsonian Institution in Washington, D.C. and at The National Gallery of Modern Art, Lagos. His works can be found at the Virtual Museum of Modern Nigerian Art) -- Dieter Olaf Klama, 1935 Hindenburg - 2021 Waal, deutscher Grafiker und Maler, Ein Frauenakt wird bemalt, große sign. Farblithographie 6/100, in Galerierahmung -- Johannes Heisig, *1953 Leipzig, deutscher Maler, Zeichner und Grafiker in der sozialkritischen Tradition des Realismus, "Was`n los", sign. Lithographie, 154/200, in Galerierahmung -- Rolf Kilian, *1963 Marburg, dtsch. Maler & Graphiker, 1983-84 Studium an der Freien Kunstschule Stuttgart, 1984-90 Studium an der Staatlichen Akademie der Bildenden Künste Stuttgart bei Peter Grau, Horst Bachmayer und Rudolf Haegele, 1994 Gründung der Künstlergruppe maximal, Abstrakt, 2 sign. Farboffsets in Galerierahmen -- Günther Huniat, *1939 in Thammühl, deutscher Maler und Grafiker, "Dein Körper, eine Landschaft - Eva", sign. Farblithographie, 2/25, in Galerienrahmung, dazu Unleserl. von 1991, abstrakte Landschaft in Gelb/Silber, übermalte Farblithographie (Unikat 1/5), im Metallrahmen

Franz Otto Robert Kasimir (Austrian/American, 1914-2002). Etching depicting the Yale University quad in New Haven, Connecticut. Pencil signed along the lower margin. Robert Kasimir was the son of Tanna and Luigi Kasimir.Sight; height: 16 in x width: 10 3/4 in. Framed; height: 22 in x width: 16 in.

Adrian Wiszniewski (Scottish, b. 1958). Group of two etchings on paper. One etching in pink titled "Tightrope" depicting a man balancing precariously on a rope. One untitled etching in blue depicting a man holding a scroll and cane standing next to a tree in a landscape. Both pencil signed along the lower right and numbered 1/25 along the lower left.Provenance: Distinguished corporate collection, Minnesota.Sight; height: 9 3/4 in x width: 7 3/4 in. Framed; height: 17 1/2 in x width: 15 1/2 in.

Rembrandt Harmenszoon Van Rijn (Dutch, 1606-1669). 18th century posthumous etching on paper titled "Adoration of the Shepherds with Lamp," depicting the shepherds gathered around the Virgin Mary and infant Jesus. Signed in the plate along the lower center.Sight; height: 4 in x width: 5 1/4 in. Framed; height; 17 1/2 in x width: 18 1/2 in.

Pierre Auguste Renoir (French, 1841-1919). Color etching on paper titled "Gabrielle et Jean," depicting a woman playing with a child. The woman is Gabrielle Renard (French, 1879-1959), a faithful household servant to the Renoirs, and the child is the artist's son, Jean, who would later go on to be a successful cinematographer.Sight; height: 9 x width: 7 1/2 in. Framed; height: 28 1/4 in x width: 24 in.

Henry "Henno" Michael O’Connor (American, 1891-1975). Ashcan school watercolor on artist's paper depicting a stirring WWII battle scene showing the horrors of war and the individual’s heroic reckoning with certain death and the ‘never-back-down’ mentality of American spirit, ca 1940s.Lot Essay:Henry Michael O’Connor was born in Brookline, Massachusetts on March 5, 1891. Early references allude to O’Connor’s skill as a boxer, a favorite sport and source of revenue for his education. He studied at the Massachusetts Normal Art School in Boston and the Boston Museum of Fine Arts School under teachers such as Joseph Pennell, Joseph de Camp, and Frank Benson. O’Connor also assisted Abbot Thayer in Dublin, New Hampshire for two years who then encouraged the young artist to go abroad. In Europe, he studied at the Académie Julian in Paris and practiced etching at the Kensington School in London.Early in his career, O’Connor seems to have been influenced by the Ashcan School of Realists in New York, although he remained active in Boston. The working people and sites of Salem Street in Boston’s North End was a favorite early subject of which he made mostly drawings. His fluid and precise linear quality is evident in several of the early drawings dating from 1914 to1919, which depict working class scenes from Charlestown, Gloucester, and Rockport in addition to Boston. Urban monuments and architecture became more frequent subjects in subsequent works. Some Boston landmarks depicted by O’Connor include Faneuil Hall, State Street, the Massachusetts State House, Harvard, Paul Revere’s House and Trinity Church.Two lithographs dated 1918 provide the first evidence of O’Connor’s activity in New York, although the main body of his New York work begins in the 1920’s. Shortly after the First World War ended, O’Connor opened a studio in the city and soon met Regina Summer, a New York City designer, whom he married in 1924. Due to frequent visits, he was still listed as a Cambridge resident into the 1930’s while he lived and worked in New York City. One of his New York etchings, “Looking from New Jersey to New York†was similarly portrayed by Joseph Pennell and Martin Lewis. O’Connor is also known to have spent time working in Paris in the early 1920’s. Four Parisian etchings appeared at the National Academy of Design in New York City in the 1927 Annual Exhibition.Much of O’Connor’s graphic work reflects his frequent travels. Some of his known trips include Gloucester (MA), Rockport (MA), Philadelphia, Chicago, Memphis, Indianapolis, Paris, London, Nuremberg, Dresden, Rotterdam, Venice, Florence, Siena, and several Canadian cities.As shown in countless prints and drawings, O’Connor was also an avid marine enthusiast. He shared this interest with friend and author Jim Connolly and provided illustrations for two of his volumes, “The Book of Gloucester Fishermen†(New York: The John Day Company, 1927) and “Navy Men†(New York: The John Day Company, 1939). He also designed the cover for the November 1938 issue of ASIA, published by the American Asiatic Foundation. His affiliation with the naval community as a petty officer earned him a portrait painting commission for six naval officers in NACAL. A portrait of Admiral Charles Wellborn Jr. may be located at the United States Naval College in Norfolk, Virginia.Other O’Connor sitters include Franklin Delano Roosevelt, Governor Charles Hurley, Dr. William O’Hanlon (reportedly located at the Margaret Hague Hospital in Jersey City, New Jersey) the Honorable Joseph Tallent, and James Roosevelt. The Roosevelt picture was reported to be somewhere in Boston, Massachusetts, though it is not clear whether this refers to the James or Franklin D. Roosevelt portraitHenry O’Connor died suddenly on February 25, 1975. Funeral services were held in Cambridge Massachusetts, and he may have been buried at the site of the Lakewood Cemetery Association.Sight; height: 23 in x width: 17 1/2 in. Framed; height: 32 1/4 in x width: 26 1/4 in.

Robert M. Ellis (American, 1922-2014). Aquatint and etching monoprint on paper titled "Cristobal Valley No. 10 (Ghost)," depicting a birds-eye-view of a southwestern landscape, 1981. Signed along the lower right quadrant; titled along the lower left quadrant.Provenance: Distinguished Corporate Collection, Minnesota.Sight; height: 24 1/2 in x width: 24 in. Framed; height: 29 1/4 in x width: 29 in.

Eileen Soper (1905 - 1990), etching, kite flying, signed in pencil, plate 9.5cm x 14.5cm, framedGood condition, 1 tiny fox mark in the top margin, modern frame and mount

Jean Paul Cassigneul, aquatint etching, Visage 6, 1985, signed in pencil, no. 68/100, plate 20cm x 27cm, framedGood condition

Jean Paul Cassigneul, aquatint etching, Visage 4, 1985, signed in pencil, no. 68/100, plate 20cm x 27cm, framedGood condition

Leopold Survage, burin etching, Pegase, 1965, from an edition of 150 copies, plate 30cm x 24cm, framedGood condition

G.F. SCHMIT (?), PORTRAIT OF AN ARTIST etching, 20cm x 16cm, dated 1752, in later Hogarth style frame and glazed; together with after Leonardo da Vinci, 'The Holy Family', print, 33cm x 24cm, in oak frame and glazed

JOHN KIKI (b.1943) A framed and glazed limited edition etching, 'Ellena and Dancer'. Pencil signed and No. 3/30. Plate size 22cm x 30cm

Rembrandt Harmensz Van Rijn (Dutch 1606-1669) Framed original etching 'Bust of an Old Bearded Man' 12cm x 10.5cm Provenance: No 260 in the Bartsch Catalogue, Second State, T&R Annan & Sons, Glasgow CONDITION REPORT:There is some foxing to the paper; the picture could have been cut down as some point but it has good provenance.  The framed etching is behind glass, the edges sit proud of the backing board, with a slight curve to some areas - it hasn't been  mounted flat to corners.  The overall etching surface is good, however there is a large brown foxing mark central/lower.  Please see additional images. NOTE:Note: The etching is behind glass, sealed in its original frame with T&R Annan & Sons, Label.  The etching came from a very prominent deceased estate.  

Robert Bryden (1865-1939)Framed etching, dated 1904'the Auld Brig, Ayr'26cm x 36cm

A small gilt framed monochrome etching, depicting the house that moved in West Street, Stepcote Hill, Exeter

R.H. Smallridge: a framed coloured etching, depicting a harbour view - sold with a framed maritime print

Inge Clayton (Austrian, 1942-2010)'LES DEMOISELLES d'AVIGNON' 1994, signed, titled, dated and numbered 21/35, colour etching, plate size 30X30cm

Leonard McComb RA (1930-2018) , 'Camelias' 2010, etching, 35x42cm

John Virtue (b.1947), Landscape etching, No.35-1996 #2, signed, titled and dated to verso, 15x29cm

John Virtue (b.1947), Landscape etching, No.39-1996 No.1, signed, titled and dated to verso, 15x30cm

John Virtue (b.1947), Landscape etching, no.27-1996 #2, signed, titled and dated to verso, 15x14.5cm

George Cruikshank I (British, 1792-1878) Jack o'Lantern Hand-coloured etchingDated January 1st, 184219cm x 13cmTogether with a hunting scene etching, a wooden frame and an oil print of Cupid and Psyche 12.5cm x 8.5cm

20th Century Cornish School 'Quayside, St. Ives'EtchingTitled as inscribed and ndistinctly signed10.5cm x 15.5cm

Etching of Old Moot Hall Cockermouth 1829

Pictures and Prints (15) and group of FDCs including: Roses, a Beautiful Floral Colour Watercolour framed by Jerry Parslew Kings Lynn Norfolk, glazed, The Laughing Cavalier by Frans Hals painting as a textured print in a gold colour frame, glazed and ready to hang. 35cm x 42cm, Artist initial EL. 37cm x 47cm, "Cherries" Limited edition printed etching, 1 of 12 signed by artist Simon Poppy 1995. Simon attended St Martins School of Art and Goldsmiths University London. His art practice is in etching, painting and lithography; exploring space and light in nature and architecture, 47cm x 47cm, Beautiful Floral Colour Watercolour framed by Jerry Parslew Kings Lynn Norfolk, glazed, Attractive colour pastel portrait of a lady in a pink shawl, nicely framed in wooden frame and ready to hang, modern. Artist initial PC 09. 45cm x 53cm, Antique Etching by William Monk depicting the grand entrance and gates of a stately home, 1901 Monk. On thick card 15" x 11 3/4". Some foxing and toning, small tear at the top, Pencil and watercolour study of an overturned wicker basket and apples. Framed and glazed. Signed by the artist, 41cm x 50.5cm etc. Also First Day of Issue Covers. 1993 The Definitive Portrait (1), 1997 (8) and 1998 (8) from the collection of Baroness Betty Boothroyd typed addresses to "The Rt Hon Betty Boothroyd MP Speaker of the House of Commons, London, SW1A 0AA" (17) Proceeds to the Maternity Bereavement Suite Charity at QE Hospital Kings Lynn. Buyer Collects.

Attributed to Armand Coussens, Gypsy Caravan with Horse, etching and aquatint. H.36 W.54cm

Frederick Pierre (b.1951), Et Dans Le Sac a Main, Il y a Mon Reve, etching and aquatint, e/a, signed, titled, and dated '87 in pencil, with Printworks label verso. H.58 W.61cm

KÄTHE KOLLWITZ (1867-1945)Stehende Mutter, ihr Büblein fütternd, 1931 signed in pencil by the artist and the printer, further inscribed 'für Otto und Wally Nagel von Alex v. d. Becke, 9/11/45'etching with aquatintSheet 30.8 x 29.8cm (12 1/8 x 11 3/4in).This work is from the edition of circa 50, printed by Otto Felsing, published by Alex von der Becke, Berlin, 1932Footnotes:LiteratureA. Klipstein, The Graphic Work of Käthe Kollwitz, New York, 1955 (no. 247.IVb).A. von dem Knesebeck, Käthe Kollwitz, Werkverzeichnis der Graphik, Kornfeld, 2002 (no. 242).ProvenanceAlex von der Becke Collection.Otto & Wally Nagel Collection (a gift from the above in 1945).William Weston Gallery, London (with their gallery label verso).For further information on this lot please visit Bonhams.com

KÄTHE KOLLWITZ (1867-1945)Mutter mit Kind auf dem Arm, 1910 signed and dedicated 'Fur Herr Dr.Aberbach' in penciletchingPlate 19.5 x 13.1cm (76 3/4 x 51 9/16in).Printed by Otto Felsing, published by Emil Richter, BerlinFootnotes:LiteratureA. Klipstein, The Graphic Work of Käthe Kollwitz, New York, 1955 (no. 110.IV).A. von dem Knesebeck, Käthe Kollwitz, Werkverzeichnis der Graphik, Kornfeld, 2002 (no. 114).For further information on this lot please visit Bonhams.com

MAX SLEVOGT (1868-1932)Geiger Andreas Weissgerber, 1929 signed in pencil, an artist's proofetching Sheet 56 x 41.5 cm (22 1/16 x 16 5/16in).Footnotes:ProvenanceIsmar Littmann Collection (acquired directly from the artist).Acquired from the above by the present owner.For further information on this lot please visit Bonhams.com

KÄTHE KOLLWITZ (1867-1945)Frau mit übereinandergelegten Händen, 1898 signed in penciletching and aquatintSheet 60 x 43.5cm (23 5/8 x 17 1/8in).This work is one of only a few known proofs before the edition of 50 published by Emil Richter, Dresden Footnotes:LiteratureA. Klipstein, The Graphic Work of Käthe Kollwitz, New York, 1955 (no. 41.IIIa/VI).A. von dem Knesebeck, Käthe Kollwitz, Werkverzeichnis der Graphik, Kornfeld, 2002 (no. 43.IVb/VII).This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

After Pablo Picasso, Spanish (1881-1973) "Abstract, seated Lady with Hat," etching No. 10 of 50, bears signature, approx. 20cms x 20cms (8" x 8") gilt frame. (1)

After Paul Klee, Swiss (1879-1940) "Cubist Head," etching, No. 14 of 50, bears signature, approx. 17cms x 19cms (7" X 7 1/2") mounted, gilt frame. (1)

After Pierre - Auguste Renoir, French (1841-1919) "Le Chapeau Epingle - (La Fille de Bertha Morisot et sa Cousine) - etching,  (2nd State), c. 1894, approx. 13cms x 10cms (5" x 4"), label on reverse. (1) Ref:   Catalogue - Graphic Work of Renoir J.G. Stella, No. 8, mounted and framed. (1)

Attributed to Henry Brocas Snr. (c1760 - 1837) “Watermill, thought to be the O’Sullivan Flax Mill at Blarney,” c. 1810, watercolour on paper, 66cms x 47cms (26” x 18 ½”). Dating from the early nineteenth century, this watercolour painting of a mill by a river can be confidently attributed to Henry Brocas the Elder. The location of the building (not given on the watercolour), has been identified by Alison Muir, researcher on the history of Irish mills, as likely the five-storey mill that once stood in the village of Blarney, beside the River Martin. Owned by James B. O’Sullivan, this flax mill flourished for several decades. However, today little or nothing remains of the buildings depicted by Brocas, as O’Sullivan’s mill was demolished to make way for the Blarney Woollen Mills. The watercolour is therefore an important document relating to Ireland’s industrial archaeology. The location is idyllic, and the artist clearly intended to represent how nature has been improved through the addition of these buildings and industrial works. Although best known for his portraits, mainly of actors, politicians and lawyers, Brocas also depicted landscapes in watercolour, using a rapid technique of representing leaves and trees that relates to the present work. In this painting, he depicts a range of industrial and domestic buildings, set in a woodland landscape beside a bridge. In the foreground, a party consisting of a man, woman and child, walk along a curving riverside path, viewing the mill and its surroundings. Rising five storeys, the mill is an impressive building, with the top of the waterwheel visible just behind the five arched bridge. It is protected by a high wall, extending along the riverbank. Brocas has enlivened the scene by adding in the figure of a man fishing by the bridge, and three men, also fishing, in a boat. Beside the mill are two bird houses, or dove cots, raised high on poles. Beyond the bridge is a three-storey house, seen from the rear. Another domestic house is visible on the left, a two-storey building with outbuildings attached. On the brow of the hill, behind the mill, is a ruin. At the time this watercolour was painted, there was an early eighteenth-century wing of Blarney Castle falling into ruin. Only a circular tower survives today, some distance from the castle. The windows on this eighteenth century wing correspond to Brocas’s view. On the extreme right in the watercolour is a series of low buildings. Including at least five artists, over two generations the Brocas' were influential in Dublin’s art world. Henry Brocas Snr was born in Dublin in 1762, the fifth son of Robert Brocas and his wife Bridget (neé Taylor) Largely self taught as an artist, in the 1790’s he lived in the Grafton Street area of Dublin, before settling around 1825 in Henry Street. In 1800 he was appointed to teach landscape and decorative painting at the Dublin Society’s Drawing Schools, a post which he kept until his death in 1837. Brocas set an example to students at the School by making sketching tours to beauty spots around Dublin, and sketching scenes from life, rather than working exclusively in the studio. His four sons were pupils at the Dublin Society and also became professional artists, giving the family a long association with the Schools. The family was also associated with the Society of Irish Artists, with the third son, William, serving as President. William was also a member of the RHA, elected in 1860. Brocas’s other three sons were James Henry Brocas, born c 1790, Samuel Frederick, born in 1792, and Henry Jnr, who was born six years later.  Samuel Frederick Brocas is best known for his views of Dublin, while James Henry Brocas was a landscape, portrait and equestrian painter: his landscapes and paintings of horses and cattle were shown at exhibitions in Dublin between 1801 and 1816. John Henry studied at the Dublin Society's Drawing Schools, winning awards in 1802 and the year following, as well as a medal for etching. He moved to Cork around 1834. The youngest son Henry Brocas Junior (1798-1873) succeeded his father at the Dublin Society’s Schools, where he taught for around two decades. A detailed account of the Brocas family is given in Patricia Butler, The Brocas Collection, (NLI, Dublin, 1997).

After Edouard Manet, French (1832-1883) Le Chat aux Fleurs, 1869, (cat with flowers) etching and aquatint on rives paper, final state, posthumous impression, approx. 22cms x 17cms (8 3/4" x 6 3/4"), framed and glazed, gilt frame. (1) Ref: Guerin 53. Harris 65

Norman Wilkinson, British (1878-1971) "Single Handed," etching, signed  approx. 25cms x 32cms (10" x 12 1/2"), framed. (1)

After Henry Moore, British, OM, CH, FBA (1898-1986) "Reclining Nude Woman," etching, Limited Edn., No. 48 (50), bears signature, cloth mount, approx. 20cms x 25cms (8" x 10"). (1)

Wassily Kandinsky (1866-1944) "Der Schleier," (Klange Suite), etching, Limited Edn. No. 23 (300), framed with limitation, (facsimile on back of frame), label from Goldmark Gallery, framed. (1)

Ruth Brandt, Irish (1936-1989) "Reverie," coloured etching No 8 (75) copies, signed  and dated by the artist and embossed stamp, approx. 50cms x 38cms (20" x 15"), mounted and framed. (1)

Patrick Hickey, Irish, HRHA (1927-1998) "Two More Poppies," cold. etching, Printer's Proof, signed  and dated by the artist 'Patrick Hickey 94', approx. 22cms x 24cms (8 1/2" x 9 1/2") mounted and framed. (1)

Walter Greaves, British 1846-1930- Snow in Battersea; etching on paper, signed and dated 'W Greaves / 1877' (in plate lower left), 12.2 x 23.6 cm. Provenance: Mr and Mrs A. Thornton, January 1984.; With Michael Parkin Fine Art, London, no.153.; Private Collection, UK. Please refer to department for condition report

James Abbott McNeill Whistler, American 1834-1903- Ponte del Piovan; 1879-1880, etching printed in brownish-black ink on paper, 22.2 x 14.9 cm., signed with the artist's butterfly and inscribed 'imp' in pencil on the tab (lower left), sixth (final) state from 'Twenty-Six Etchings'. A fine richly inked impression. Kennedy 209, Glasgow 220. Provenance: Collection of Stanley Field.; The Art Institute of Chicago.; with Thomas Agnew & Sons, London [no.45736]. Note: Whistler went to Venice in September of 1879 and sojourned there for over a year, returning to London in November of 1880.Trimmed to or just within the plate mark with a tab for the pencil monogram. Please refer to department for condition report

Mortimer Luddington Menpes, RI, RBA, RE, Australian / British 1855-1938- The young mother, 1911; pencil, watercolour and bodycolour heightened with white on paper, signed 'M.L. Menpes.' (upper right), 22 x 15.3 cm. Provenance: Private Collection, UK. Note: Menpes was an Australian-born British artist who worked in part as an illustrator, and who was known especially for his drawings and etchings. He studied under James Abbott McNeill Whistler (1834-1903), whose influence is evident in his embrace of the medium of etching, indeed with Menpes himself serving as a central figure in the etching revival of the late 19th and early 20th centuries. Menpes’s output is defined by his small-scale, highly observational drawings, of which the present work is a particularly charming example. This work demonstrates the artist’s sensitive approach, using a plain background to focus the entirety of the viewer’s attention on the two figures.Please refer to department for condition report

Salvator Rosa,Italian 1615-1673-Study of a standing man;black chalk, pen and brown ink and wash on laid paper, 14 x 7.7 cm.Provenance: John Isaacs.; Peter Palumbo.; Sale, Sotheby's, London, 12 March 1963, lot 139B.; Anon. sale, Sotheby's, London, 13 December 1973, lot 38.; with Thomas Agnew & Sons, London, 1974 [no.38365].; Private Collection, UK, since 1975.; By descent.Exhibited: London, Thomas Agnew & Sons, 'Master Drawings and Prints', March-April 1974, no.4.Literature: M. Mahoney, ‘The Drawings of Salvator Rosa’, New York and London, 1977, no.46.4 (illustrated), 'A man turned to the left resting his right arm on a high block and holding a staff in his left hand'.Note: The present drawing relates to Rosa's preliminary studies for his set of 62 etchings of genre and military subjects entitled 'Figurine' - a group of 62 etchings of soldiers, peasants and other figures, depicted either individually or in groups of two, three or more - on which he was working from 1656 to 1657. It has been suggested that, apart from helping to spread Rosa’s fame, these 'Figurine' etchings may also have served to rebut claims, made by the artist’s critics, that he was merely a landscape painter without the ability to depict figures. As Richard Wallace has noted, ‘Rosa was very touchy about his reputation as a figure painter...With the Figurine he undoubtedly meant to show everyone, including his detractors...that he could master the human figure in an almost infinite variety of poses and expressive states.’ Often acquired as a complete set of prints and bound into albums, Rosa’s 'Figurine' etchings remained popular with collectors well into the 18th century.This study was probably drawn from life on the same scale as the etchings in preparation for Bartsch 43. In the finished etching the soldier wears a helmet and leans on his lance which he carries in his right hand. The essential pose of the body remains the same. Rosa’s individual studies for the ‘Figurine’ are characteristic of his graphic style in general. They are all drawn with swift pen strokes and feather-light touches of wash and they all display the same economy of line from which they derive their spontaneity and vigour. Rosa’s inspiration for the ‘Figurine’ stems from the etched work of Jacques Callot (1592-1635) and Stefano della Bella (1610-1664). The figures, many of whom are soldiers, are frequently turned away from the spectator, as in this drawing, as if secretly brooding some plot or conspiracy. As Dr Mahoney pointed out in the Hayward Gallery’s 1973 ‘Salvator Rosa Exhibition Catalogue’, the ‘Figurine’ gave Rosa the opportunity ‘to express several of his most important artistic attitudes, his most obsessive desire to be known as a master of the human figure in all of its aspects… and his wish to display his originality of invention, his ‘capriccio’’.Please refer to department for condition report

Giovanni Battista Piranesi, Italian 1720-1778- The Sawhorse, plate XII from "Carceri d'Invenzione"; etching with engraving on laid paper, without watermark, the sheet 44.6 x 58.8 cm. Provenance: The estate of the late designer Anthony Powell. Literature: Focillon 35; Hind 12; Robison 38. Note: see https://www.royalacademy.org.uk/art-artists/work-of-art/the-sawhorse.With wide margins and the usual central vertical fold. A tear in the sheet lower right.

After Jean Baptiste Claude Chatelain (French 1710-1771): View of Kendall House near Isleworth, mid 18th century engraving; three 19th century engravings of Micklegate and Clifford's Tower York; etching of Bath Abbey and signed print (6)

FRANCES EVANS: A framed and glazed etching entitled "Fountain Court Temple". Signed to bottom right. Labelled verso. Approx. 23cms x 18cms together with a framed and glazed lithograph print by J Watson depicting The Elephant and Castle. Est. £20 - £30.

20thC School. Stream before cottage with clouds gathering, oil on board, 28cm x 44cm, another by the same hand, M C Robinson etching, J. N. McLaurin (20thC), Tree Before Cottage, watercolour. (4)

Len Patterson (20thC). Durham Cathedral, artist signed limited edition print, no. 46 of 100. 26cm x 40cm various others, etchings, Dorothy M Bailey, a church no.5 of 75, after Griffin The Glory Hole, Lincoln, Exchequer Gate etching Lincoln, Old Richmond etc. (5)

Kaesey (20thC). Dickins & Jones etching, signed and titled, 18cm x 13cm.

20thC School. Caen St Etienne, etching print, 30cm x 21cm, J. W. (20thC) Cottage on a summer's day, watercolour, Alan Oliver watercolour, other similar pictures, prints, frames, Tony Wistin Concentration Graphite portrait, various others by local artists, David Bell print, Trevor Dakin shopping print, David C. Bell limited edition print and another H Prospector, London. (a quantity)

* Aldin (Cecil Charles Windsor, 1870 - 1935). A Most Popular Gentleman (Spaniel), etching, signed in pencil by the artist to the lower right, limited edition 31/100, two small 'white spots', one affecting the image and one in the upper right margin, 265 x 210 mm, mounted, framed and glazedQTY: (1)

* Drawings, Prints & Engravings. A collection of approximately 130 drawings, 19th & 20th century, watercolours, pencil drawings, etching, lithographs and prints, including portraits, genre studies, topography and natural history, various sizes and conditionQTY: (approx.130)

* Piranesi (Giovanni Battista, 1720-1778). Colonna Antonina, First Paris edition [1800 -07], uncoloured etching on laid of the Column of Marcus Aurelius, large margins, some dust and finger soiling to the margins, 555 x 405 mmQTY: (1)NOTE:Hind 52, state 5.

* Piranesi (Giovanni Battista, 1720-1778). Veduta del Palazzo Odescalchi, First Paris edition [1800 - 07], uncoloured etching on laid, large margins, some dust and finger soiling to the margins, 405 x 615 mmQTY: (1)NOTE:Hind 26, state 3.

* Piranesi. (Giovanni Battista 1720-1778). Veduta della Facciata di dietro della Basilica di S. Maria Maggiore, First Paris edition [1800- 07], uncoloured etching on laid, originally published in the ' Vedute di Roma', large margins, slight creasing, some dust soiling to the margins, 410 x 615 mmQTY: (1)NOTE:Hind 10, state 3.

* Piranesi. (Giovanni Battista 1720-1778). Veduta della Gran Curia Innocenziana edificata sulle rovine dell' Anfireatro di Statilio Tauro, che formano l'odierno Monte Citorio..., First Paris edition [1800 - 07], uncoloured etching on laid, large margins, slight dust and finger soiling to the margins, 400 x 620 mmQTY: (1)NOTE:Hind 23, state 2.

Miscellaneous unframed prints and ephemera, early 19th-early 20th c  and an earlier framed etching after Claude Lorraine