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Preisdatenbank abonnierenAFTER CECIL ALDIN "Old English Inns Series" - "The Middle House Mayfield", "Pomfrett Arms Towcester", "The Red Lion Banbury" and another, all signed in pencil with blind studio stamp, 46 cm x 40 cm, together with AFTER W DANBY SADLER "Monks with pike", black and white etching, signed in pencil, 51 cm x 35.5 cm
Cavendish, William, 'Capriolles pour les Voltes Mains Gauches', from La Méthode et Invention Nouvelle de Dresser les Chevaux, 1737, Engraving transfer glass picture, hand coloured and heightened with gilt, 358 x 517 cm; with William Nutter after Henry Singleton, The Destruction of the Bastile, 1792, etching and stipple engraving, a good impression, published by Benjamin Beale Evans, London, 48.5 x 61.8 cm; with David Loggan, Portrait of Jacob Bobart, Keeper of the Oxford Physic Garden, engraving, a fine, clear impression, sheet 17.4 x 12 cm; with William Faithorne the Elder, Portrait of King Charles, engraving, circa 1658, a fine, rich impression, sheet size 25 x 16.4; with John Smith after Sir Anthony van Dyck, Portrait of James I, mezzotint, mount opening 40.5 x 27 cm, all framed, The Destruction of the Bastile with a couple of waterstains in the lower margin, otherwise all apparently generally in good condition, unexamined out of the frames; with six unframed prints; After John Constable by Frank Short, Flatford Lock, mezzotint, on wove paper, a fine, rich impression, signed in pencil; Three etchings with mezzotint printed in sepia from the Liber Studorium by printed in sepia, etched by Joseph Mallord William Turner, one further engraved by Robert Dunkarton,1807-1819, on laid paper, some waterstaining and discolouration; and Portrait of Oliver Cromwell, engraving after the portrait by Robert Walker, circa 1649, laid on thick card, some defects; and Portrait of King Charles Praying, engraving by Abraham Hertochs after P. Fruytiers after W. Marshall, 1662, some defects, 5 framed works and 6 unframedQty: (11)Footnote: This transfer print on glass shows a nobleman galloping past Bolsover Castle in Derbyshire. The print is from the 1737 English edition of Cavendish's exposition on the theory and practice of equestrian dressage. La Méthode et Invention Nouvelle de Dresser les Chevaux, was first published in 1657 in Antwerp. William Cavendish, The Duke of Newcastle, lost his fortune and title after the Battle of Marston Moor and went into exile on the continent. Whilst in Paris, he purchased eight Barbary horses, set up a manège and developed his own training methods.
RICARDO BAROJA NESSI (Riotinto, Huelva, 1871 - Vera de Bidasoa, Navarra, 1953).Untitled.Oil on canvas.It has slight damage to the frame.Signed in the lower left corner.Measurements: 36 x 56 cm; 48 x 69 cm (frame).Painter, engraver and writer of the Generation of 98, and brother of Pío Baroja, he was formed in a self-taught way. Developing a style contrary to the aesthetic taste of the artistic juries of the beginning of the century, Baroja presented himself at the Modern Art Exhibition in Bilbao from 1900, and exhibited his work in different places, preferably San Sebastian and Madrid. Towards 1900-1906, he focused with dedication on the cultivation of etching, becoming considered the best Spanish master in this field after Goya, standing out from the beginning as a profound portraitist, author of beautiful etchings and scenes of popular life, between Goyaesque and lyrical. At the same time, he dedicated himself to writing. In 1903 he founded, in collaboration with Pablo Picasso and Francisco de Asís Soler, the "Arte Joven" group. In 1928 he was appointed professor at the National School of Graphic Arts. However, as a result of a traffic accident the artist loses an eye and is forced to give up painting, focusing from then on literature. Little by little, he took up brushes again, but he hardly ever painted from life. During the Civil War he lost contact with his brother, who fled to France, and he made a living painting. After the war he continued painting, although only in summer, and writing. In 1940 he again held exhibitions in the art galleries of San Sebastian, Bilbao and Madrid, obtaining great commercial success. In San Sebastian he founds, together with Martiarena, the Artistic Association of Guipuzcoa. In 1952, a year before his death, his success is confirmed with the sale of all his paintings in an exhibition held in San Sebastian. Ricardo Baroja is represented in the Provincial Museum of Lugo, the Fine Arts Museums of Bilbao and Alava, and the San Telmo Museum in San Sebastian, among others.
AUDUBON, John James (1785-1851)Yellow-Crowned Heron (Plate CCCXXXVI) Ardea Violacea, L.Engraving with etching, aquatint and hand-coloring by Robert Havell (1793-1878), 959 x 634 mm sheet, on J. Whatman paper dated 1838, a few short closed tears occasionally touching image repaired verso, a few tiny spots, some minor toning to extreme outer margins, matted and framed. Low p.147.For condition inquiries please contact lesliewinter@hindmanauctions.com
[PENNYROYAL PRESS BROADSIDES, ETC.]. A group of 27 printed exhibition, performance or publication broadside announcements, checklists, invitations and other ephemera printed by Moser at the Pennyroyal Press, mostly for events surrounding Pennyroyal Press publications or lectures and exhibitions presented by Moser. 1971-1982. Includes: Where 's Charley? Announcement for a performance of a play at the Williston Theatre. Easthampton, MA, 1970. Signed by Moser. Pennyroyal Checklist [B]12. "” On Prints and Printmaking. Announcement for a lecture and exhibit by Barry Moser at the Berkshire Museum, Pittsfield MA. [Easthampton, 1971]. Illustrated with a pentagonal etching. Signed by Moser. Pennyroyal Checklist[B]14. "” A proof copy for previous without etching, signed by Moser. "” Edward Hill. Announcement for an exhibition announcement of drawings and collages at Williston-Northampton School. [Easthampton, 1971]. Signed by Moser. Pennyroyal Checklist [B]15. "” Open House & Exhibition. Announcement card for an art exhibition held at the Williston-Northampton School, Easthampton, MA. [Easthampton, MA], 1972. Signed by Moser. See Pennyroyal Checklist [B]18. "” Richard Hendel on Books. Announcement for a lecture at Williston-Northampton School. [East Hampton, 1972]. Signed by Moser. Not in Pennyroyal Checklist. "” Barry Moser. Etchings and Woodengravings. Announcement for an exhibition at Main Street Gallery, Nantucket, MA. [Easthampton, MA, 1973]. Signed by Moser. Pennyroyal Checklist [B]24. "” Barry Moser Botanical Drawings. Announcement for an exhibition at the Spectrum, West Main Street, Brewster, MA. [Easthampton, MA, 1975]. Signed by Moser. Pennyroyal Checklist [B]29. "” Barry Moser. Prints & Drawings. Announcement for an exhibition at the Adams Gallery, Rhode Island College, Providence, RI. [Easthampton, MA, 1975]. Signed by Moser. Not in Pennyroyal Checklist. "” Pennyroyal Press. Announcement of four available books from the Pennyroyal Press. Easthampton, MA, [1976]. One of 155, signed by Moser. Pennyroyal Checklist [B]41. "” An Exhibit of Prints & Drawings by Barry Moser at Beardsley 's Cafe-Restaurant. Checklist for an exhibition at Beardsley 's Cafe-Restaurant, Northampton, MA. [Northampton, MA], 1977. Signed by Moser. Pennyroyal Checklist [B]48. "” Barry Moser. An exhibit of forty-five wood engravings. Checklist for an exhibition at the Wistariahurst Museum, Holyoke, MA. [Northampton, MA], 1977. Signed by Moser. Pennyroyal Checklist [B]50. "” Moser at Dwyer 's. Announcement for an exhibition at Dwyer 's Gallery, Northampton, MA. [Northampton, MA, 1978]. Signed by Moser. Pennyroyal Checklist [B]56. "” And 8 others (a few duplicates), all signed by Moser. Property from the Collection of Mr. Barry MoserFor condition inquiries please contact lesliewinter@hindmanauctions.com
BARRY, Moser. Treehouse. [printed ca 1994]. 615 x 413 mm. Second printing. Etching printed in sepia ink. Captioned and signed, designated artist 's proof ( "ap I/II 2nd printing"). Property from the Collection of Mr. Barry MoserFor condition inquiries please contact lesliewinter@hindmanauctions.com
[BROADSIDES]. A group of 4 of Moser 's earliest printed broadsides from his Castalia Press. Comprising: Whistler. The Red Rag. Castalia Press. Prospectus. [Easthampton, MA: Castalia Press, 1969]. Unfolded sheet, 303 x 207 mm. Illustrated with a small oval portrait of Whistler in mauve; title printed in red; text on verso. One of an unspecified number printed. SIGNED BY MOSER beneath portrait. Regarding his first book Red Flag, Moser writes: "So inept at engraving wood was I, that I drew a portrait of Mr. Whistler on scratch-board and had a line etching made so that it would look like an engraving. The Castalia Press was started as part of the Art Department at Williston Academy, Easthampton, Mass. in the Spring of 1969. It took a year for the first book to come off the press""”Pennyroyal Checklist 1. The text on verso announces The Red Flag as the first limited edition from the Castalia Press, which preceded his Pennyroyal Press. This announcement does not appear in the Pennyroyal Checklist. [With:] ONITSURA, Uejima. Thus too my lovely life Must end, another flower"¦ To fall and float away [Haiku]. [Easthampton, MA: Castalia Press], 15 November 1969. Broadside, 194 x 300 mm. Illustrated with a small flower device; printed in red. One of an unspecified number printed. SIGNED BY MOSER. "This broadside was an offshoot of the Death of Narcissus, printed more or less as part of the continuing set of exercises I was practicing to learn the craft of printing""”Pennyroyal Checklist [B]2. [With:] The Art of the Book. Announcement for an exhibit of handmade books from Leonard Baskin 's Gehenna Press held at the John Stark Gallery, Williston Academy, Easthampton, MA. [Easthampton, MA: Castalia Press, 1969]. 226 x 213 mm. Printed in red and black. One of an unspecified number printed. SIGNED BY MOSER. Pennyroyal Checklist [B]3. [With:] MILTON, John. For what can Warr, but endless Warr still breed"¦[quotation from Paradise Lost]. [Easthampton, MA: Castalia Press], 15 October 1969. 103 x 329 mm. SIGNED BY MOSER. "This was the first politically motivate bit of printing I ever did, protesting quietly the absurdity of war. Political commentary is a practice I 've maintained to this day""”Pennyroyal Checklist [B]4. Property from the Collection of Mr. Barry MoserFor condition inquiries please contact lesliewinter@hindmanauctions.com
HAMERTON, Philip Gilbert (1834-1894). Etching and Etchers. London: R. Clay, Son, and Taylor for MacMillan & Co., 1868. 4to (253 x 166 mm). Title printed in red and black, frontispiece etching, 35 etchings or drypoints (5 double-page, 1 folding). (Very occasional spotting, light offsetting.) Maroon morocco gilt, spine in 6 compartments with 5 raised bands, gilt lettering in one compartment gilt decoration in the rest, sides and turndowns gilt, all edges gilt, stamp-signed by Zaehnsdorf (some scuffs to sides). Provenance: Newton Hall, Cambridge (bookplate, initials J.S.). FIRST EDITION, including etchings after famous etchers, including Rembrandt Harmenszoon van Rijn, Jacques Callot, Samuel Palmer, James Abbott McNeill Whistler, and others. For condition inquiries please contact lesliewinter@hindmanauctions.com
AUDUBON, John James (1785-1851)Goshawk & Stanley Hawk (Plate CXLI) Falco Palumbarius, Linn. & Falco Stanleii, Aud. Engraving with etching, aquatint and hand-coloring after Audubon by Robert Havell (1793-1878), 980 x 656 mm sheet, on J. Whatman Turkey Mill paper dated 18?? [sheet trimmed into date], a little rippling and toning to outer margins, a few tiny spots, matted and framed. Low p.82. For condition inquiries please contact lesliewinter@hindmanauctions.com
REMBRANDT VAN RIJN, Schule desAlter Mann beim Lesen. Radierung, 9x8cm, unter Passepartout gerahmt. Vergoldeter Stuckrahmen (School of) REMBRANDT VAN RIJN Old man reading. Etching, 9 x 8 cm, framed underpasse-partout. Gilt stucco frame. Keywords: graphics, images, artworks, pictures, intaglio, prints, Netherlands, Dutch
British WWII Fairbairn Sykes 1st pattern Commando dagger fighting knife, the coarse grip with smooth pommel, the blade L: 16 cm having traces of worn acid etching (indistinct), having its metal mounted leather scabbard (damaged). P&P Group 2 (£18+VAT for the first lot and £3+VAT for subsequent lots)
Samuel Palmer (British, 1805-1881)The Rising Moon, or An English Pastoral (Lister 7) Etching, 1857, on chine appliqué, the seventh state (of nine), with etched lettering 'Samuel Palmer. 10' below the image, published 1857 in Etchings for the Art Union of London, 14.8 x 22.2cm (7 1/8 x 8 3/4in) (PL); together with The Lonely Tower (L.12), 1879, on laid paper, a posthumous impression printed by Edgar Holloway in 1972, titled and inscribed 'Edgar Holloway imp.' in pencil, 17.8 x 25cm (7 3/8 x 9 7/8in)(PL)(2)For further information on this lot please visit Bonhams.com
Samuel Palmer (British, 1805-1881)The Early Ploughman, or The Morning Spread Upon the Mountains (Lister 9) Etching, circa 1861, on laid paper, the eighth state (of nine), 17.5 x 25.5cm (7 x 9 7/8in)(PL); together with The Morning of Life (L.10), 1860-61, on chine appliqué, the final seventh state, with etched lettering 'Samuel Palmer'. The Morning of Life. 13' below the image, published in 1872 as plate 10 in Etchings for the Art Union of London, 14.5 x 21.5cm (5 3/4 x 8 1/2in)(PL)(2)For further information on this lot please visit Bonhams.com
Samuel Palmer (British, 1805-1881)The Skylark (Lister 2) Etching, 1850, on chine appliqué, the seventh state (of eight), with etched lettering 'Samuel Palmer. 17.' below the image, published in 1857 as plate 17 in Etchings of the Art Union of London, 11.7 x 9.6cm (4 5/8 x 3 7/8in)(PL); together with The Herdsman's Cottage (L.3), 1850, on wove paper, the second final state, with Palmer's etched initials in the lower left margin, published in 1872 in The Portfolio, 12.4 x 10cm (4 7/8 x 4in)(PL)(2)For further information on this lot please visit Bonhams.com
James Gillray (1756-1815) etching with hand colouring. 'Hero's recruiting at Kelsey's', Published 1797 by Hannah Humphrey (1745-1818), 26 x 36cm, glazed frameCondition report: The lower edge is fairly badly damaged as seen in the images, other scuffs to the outer edges. Impossible to state if it has been fully stuck down without removing from the frame. Colours generally good, frame and mount in good condition.
James Gillray (1756-1815), hand coloured etching and aquatint, The Blessings of Peace, The Curses of War, Published 1795 by Hannah Humphrey (1745-1818), 31 x 37cm, glazed frameCondition report: Impossible to state if it has been stuck down as not inspected out of the frame. A small tear on the lower edge through the word 'countrys'. Otherwise generally good condition.
James Gillray (British, 1756-1815) hand coloured etching, Visiting the Sick, published by H. Humphrey, London 1806. sheet 26 x 35.8cm, glazed frameCondition report: Glazed frame, not inspected out of the frame. trimmed to the image on three sides, the lower edge is trimmed (signature lost lower left) and strengthened, arresting a couple of small tears.
Published William Benbow, hand coloured engraving, Persecution of the Saints, published 1820, 24 x 34cm, together with George Cruickshank, coloured etching, A match for the King's Plate, G. Humphrey 1819, also Seven Shilling Pieces and Richard Dighton. A View from the old South Sea House, all framed. (4)
Thomas Rowlandson (1756-1827), etching, A Charm for a Democracy, reviewed, analysed, and destroyed Jan 1 1799 to the confusion of its affiliated friends, sheet 29 x 45cm, published February 1799, together with Richard Dighton, The Principle Arch of Lambeth Palace, Henry Bunbury, The Country Club, French engraving - La Famille Anglaise a Paris, and hand coloured Cruickshank engraving Monsieur Tonson. (5)
James Gillray (1756-1815) hand coloured etching, The Injured Count S, published C. Morgan, 28 x 37cm, probably a later printCondition report: The paper is inconsistent with the other Gillray works in this sale, we assume its later, not printed to the reverse, no other distinguishing marks. Trimmed to plate on three sides, a tear top left corner and repair to a tear lower left
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