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

FIVE CRYSTAL ORNAMENTS, to include three Swarvoski items, an apple, height 7.5cm (reglued stalk), an oyster shell with pearl, width approximately 6cm and an Owl, height 4.5cm, all with swan etching, a Waterford crystal shell shaped timepiece, height 6.5cm (nibbles to edges) and another item etc (5)

PAINTINGS AND PRINTS, ETC to include a pair of late 19th/early 20th Century unsigned landscape oils, Sid Gardener prints, etching of Aberdeen from the Harbour, pair of chromolithographs, print of the laughing cavalier, etc

Graham Clarke (b. 1941), aquatint, 'Sunflowers', signed and inscribed, etching, no. 47/100, 26 x 34cm

Wilfred Crawford Appleby, Glasgow University, pencil signed etching, 36cm x 24cm

Thomas Rowlandson (London 1756-1827) A cart race, 1788 signed 'Rowlandson' in the etching plate and dated 1788 (lower left), etching, 26 x 41cm

A mezzotint print, in the style of Tatton Winter, country lane, indistinctly signed, 24 x 19cm, plus frame and glazed, and an etching, after Charles Watson, A Sussex Mill, dated 1906, 20 x 16cm, plus frame and glazed

Artist: Pierre-Auguste Renoir (French, 1841 - 1919). Title: "Baigneuse debout, a Mi-Jambes". Medium: Original etching. Date: Composed c1906. Printed later. Dimensions: Overall size: 14 13/16 x 11 3/8 in. (376 x 289 mm). Image size: 6 3/4 x 4 5/16 in. (171 x 110 mm).Lot Note(s): Cream wove paper. Full margins. Very good impression. Fine condition. Literature/catalogue raisonne: Delteil 23; Stella 23. Comment(s): During the second half of the nineteenth century, France was experiencing a printmaking renaissance. Despite this artistic trend, Impressionists were not quick to adopt the medium as they were accustomed to painting in plein air. However, Renoir learned the medium, creating his first etching in 1890 and his first lithograph two years later. During this time, Renoir was 49 and already an established painter. Yet, he executed a total of 59 prints in his lifetime, producing almost equal amounts of lithographs and etchings. Impressively, he was able to develop his own style of etching independent of his development as a painter [courtesy Masterworks Fine Art]. [2646-3-300]

Artist: Edouard Manet (French, 1832 - 1883). Title: "Charles Baudelaire de Face III". Medium: Etching. Date: Composed 1865. Printed later. Dimensions: Overall size: 9 3/4 x 9 1/4 in. (248 x 235 mm). Image size: 3 13/16 x 3 1/4 in. (97 x 83 mm).Lot Note(s): Signed in the plate, lower right. Inscribed with the artist's and printer's names, lower left and right. Light cream wove paper. Very wide margins. Fine impression. Fine condition. Literature/catalogue raisonne: Harris 61; Guerin 38iv. Comment(s): Manet was one of the first 19th-century artists to paint modern life and was a pivotal figure in the transition from Realism to Impressionism. [17720-2-225]

Artist: Pierre-Auguste Renoir (French, 1841 - 1919). Title: "Femme nue assise". Medium: Etching & softground. Date: Composed 1906. Printed later from the original plate. Dimensions: Overall size: 14 7/8 x 11 1/8 in. (378 x 283 mm). Image size: 7 3/8 x 5 9/16 in. (187 x 141 mm).Lot Note(s): Cream wove paper. Full margins, deckle edges. Fine impression. Fine condition. Literature/catalogue raisonne: Delteil 12. Comment(s): Earlier impressions of this print regularly sell at auction for well over $1,000. [25684-3-300]

Artist: Pierre-Auguste Renoir (French, 1841 - 1919). Title: "La chapeau epingle [3e Planche]". Medium: Original etching. Date: Composed c1894. Printed later. Dimensions: Overall size: 12 x 9 3/8 in. (305 x 238 mm). Image size: 4 5/8 x 3 1/4 in. (117 x 83 mm).Lot Note(s): Signed in the plate, lower left. Cream wove paper. Full margins (deckle edges). Good impression. Fine condition. Literature/catalogue raisonne: Delteil 8. Comment(s): Earlier impressions of this print regularly sell at auction for well over $1,000. According to "Gordon's Art Reference" the auction record is $10,000, set at Sotheby's, New York (Prints, #8344) - 09/26/2007 - lot #171. The models are Julie Manet, the daughter of Berthe Morisot and niece of Eduard Manet, and her cousin, Paulette Gobillard. Image copyright © Artists Rights Society (ARS), New York. [1397-2-300]

Artist: James Rizzi (American, 1950-2011). Title: "Love Bugs". Medium: Color silkscreen and lithograph. Date: Composed 1999. Dimensions: Overall size: 12 1/8 x 15 in. (308 x 381 mm). Image size: 9 x 12 in. (229 x 305 mm).Lot Note(s): Bears complimentary signature in pencil, lower right; titled and dated in the plate. A proof aside from the regular edition. Light cream wove paper. Full margins. Fine impression. Fine condition. Comment(s): A rare "flat-print" proof for a proposed "3-D" edition, not intended for sale or distribution. Rizzi was an American pop artist who was born and raised in Brooklyn, New York. While at the University of Florida he came up with the idea of 3D multiples now mostly associated with his name. Having taken classes in painting, printmaking, and sculpture, he had to hand in grade work for all three subjects, but only had time for doing one. So he created an etching, printed it twice, handcolored it, and mounted parts of the one print on top of the other, using wire as a means of adding depth. Printer unknown, edition published by John Szoke Editions, New York. [27785-3-400]

Artist: Rembrandt (Rembrandt Harmensz van Rijn) [d'apres] (Dutch, 1606-1669). Title: "The Angler in a Boat". Medium: Etching. Date: Composed c1650. Dimensions: Image size: 4 1/16 x 5 7/16 in. (103 x 138 mm).Lot Note(s): Trimmed to the platemark. A good impression, printed with plate tone. Condition: laid to board; scattered foxing. Comment(s): A Louis Marvy (British, 1815-1850) impression, etched in 1843. At the time Marvy created this print, Bartsch had catalogued it as by Rembrandt (B243). The image since has been rejected as a Rembrandt, and Munz attributes the print to Pieter de With. [23439-1-200]

Artist: James A. M. Whistler (American, 1834 - 1903). Title: "The Punt". Medium: Original etching & drypoint. Date: Composed 1861. Dimensions: Overall size: 6 1/16 x 8 5/16 in. (154 x 211 mm). Image size: 4 3/4 x 6 5/8 in. (121 x 168 mm).Lot Note(s): Signed in the plate, lower left. MacDonald's fourth state of six (IV/VI) with the partial removal of the signature and date in the plate, lower left, and with the engraved inscription included. Cream wove paper. Ample margins. A very good, well inked impression. Good condition; two tears in the margins, extending to the platemark but not into the image; mat burn; scattered foxing. Literature/catalogue raisonne: Kennedy 85; Glasgow 82. Provenance: Swann Auction Galleries, New York City. Comment(s): Printed by Day & Son, London. Published by the Junior Etching Club, London. [30080-1-400]

* RICHARD "TURNERAMON" TURNER ARCA (BRITISH 1930 - 2013), UNTITLED oil on canvas overall size 91cm x 121cm Unframed. Note: Richard Turner was noted post-modernist artist born in Derby England and was educated at Bemrose Grammar School. In 1960, he enrolled at the Derby College of Art where he won the J. Andrew Lloyd scholarship for Landscape, enabling him to study at the Royal College of Art in London, from 1963. There, he was tutored by Carol Weight and Sir Peter Blake. He graduated in 1966 with an Associate of the Royal College of Art Degree, as well as prizes in Life Drawing, Life Painting, and Landscape Painting. His work was much admired by his contemporaries and his tutors. For the next two years, Turner was a lecturer at the Guildford School of Art; working on environmental installation projects with Australian artist Tony Underhill. He was introduced to etching by Peter Olley and Norman Ackroyd. In 1968, he was employed as an epigraphic artist and photographer by the Oriental Institute of the University of Chicago. For five years, he was based at Chicago House in Luxor, Egypt making facsimile drawings of the reliefs on the walls of the Temple of Khonsu, Karnak and Medenet Habu, adjacent to the Valley of the Queens. In 1973, Turner returned to England, lecturing at Salisbury College of Art for three years, before being re-employed in Egypt by the University of Chicago, for a further four years. During this time he made full-scale tracings of all columns in the Great Hypostyle Hall of Luxor Temple. In 1980 he moved to the USA; built a split-level chalet-style house in Big Bear, California, and ran his own gallery, named Minnelusa Gallery, on the shores of Big Bear Lake. He also worked as a graphic designer with Treasure Chest Advertising, based in Los Angeles. Four years later, Turner returned to the United Kingdom, and briefly lived in Edinburgh before moving south for five years. He returned to Scotland in 1989, and ran a successful "art holiday" home business from Park House in Kirkcudbright, as well as lecturing part-time in various colleges and schools. In 1993, Turner met HM The Queen and Prince Philip, at the opening of Tolbooth Art Centre in Kirkcudbright. Prince Philip commented on Turner's work saying it looked "refreshingly different". Turner exhibited widely throughout his career including multiple solo shows in London, Manchester, San Francisco, Palm Springs, San Bernardino, Los Angeles, Paris, Cairo, Luxor, Kirkcudbright and around the UK.

Afghan white metal water jug engraved, tooled with floral etching. There is an unidentified makers mark stamped on the rim. These water jugs are usually used before and after every meal to wash hands. 15cm diam. X 15cm. Late 20th c. Notes: Every time I am invited to a meal in Afghanistan it is a male only event. The women eat in the kitchen. Everyone squats or sits cross legged around an eating cloth, sofreh, the youngest boy comes round with a water jug to pour a bit of water over your hands. The dirty water is caught in dish, usually with a pierced cover.

A very traditional antique white metal torc with patterned etching. 17cm. 430grm.

Artist: Lucian Freud (German/English, 1922-2011). Title: "Head of a Man". Medium: Offset lithograph [following the original etching]. Date: Composed 1987. Printed 1993. Dimensions: Overall size: 11 11/16 x 9 9/16 in. (297 x 243 mm).Lot Note(s): Signed in pencil with the initials (as customary), lower right. Edition unknown, presumed very small. Cream wove paper. Wide margins. Fine impression. Very good to fine condition; affixed to very thin and supple archival acid-free support sheet, not mount/board. Provenance: Private collector, London, England. Comment(s): Rare. No auction records located. Issued to promote the “Lucian Freud: recent work” exhibition at the Whitechapel Art Gallery, London, England. The show consisted of works by Freud created between 1945 and 1993. Apparently there were very small quantities of this lithograph printed for distribution at the opening night reception and they went quickly. Our example not to be confused with the original etching. The exhibition ran from September 10th to November 21st, 1993. Printed by Amilcare Pizzi S.p.A., Milan, Italy. Image copyright © The Lucian Freud Archive. [29180-2-600]

Artist: Lucian Freud (German/English, 1922-2011). Title: "Triple Portrait". Medium: Color offset lithograph. Date: Composed 1987-88. Printed 1993. Dimensions: Overall size: 10 1/8 x 11 1/2 in. (257 x 292 mm).Lot Note(s): Signed in pencil with the initials (as customary), lower right. Edition unknown, presumed very small. Cream wove paper. Wide margins. Fine impression. Very good to fine condition; affixed to very thin and supple archival acid-free support sheet, not mount/board. Provenance: Private collector, London, England. Comment(s): Rare. No auction records located. Issued to promote the “Lucian Freud: recent work” exhibition at the Whitechapel Art Gallery, London, England. The show consisted of works by Freud created between 1945 and 1993. Apparently there were very small quantities of this lithograph printed for distribution at the opening night reception and they went quickly. Our example not to be confused with the original etching. The exhibition ran from September 10th to November 21st, 1993. Printed by Amilcare Pizzi S.p.A., Milan, Italy. Image copyright © The Lucian Freud Archive. [29184-2-800]

Artist: James Rizzi (American, 1950-2011). Title: "When the Cows Come to the Big Apple". Medium: Color silkscreen. Date: Composed 2000. Dimensions: Overall size: 25 1/2 x 35 7/16 in. (648 x 900 mm). Image size: 19 5/8 x 30 in. (498 x 762 mm).Lot Note(s): Bears complimentary signature in pencil, lower right; titled and dated in the plate. A proof aside from the regular edition. Light cream wove paper. Full margins. Fine impression. Fine condition. Comment(s): A rare "flat-print" proof for a proposed "3-D" edition, not intended for sale or distribution. Rizzi was an American pop artist who was born and raised in Brooklyn, New York. While at the University of Florida he came up with the idea of 3D multiples now mostly associated with his name. Having taken classes in painting, printmaking, and sculpture, he had to hand in grade work for all three subjects, but only had time for doing one. So he created an etching, printed it twice, handcolored it, and mounted parts of the one print on top of the other, using wire as a means of adding depth. Printer unknown, edition published by John Szoke Editions, New York. [27753-6-800]

Artist: James Rizzi (American, 1950-2011). Title: "Battle on the Ice". Medium: Color silkscreen and lithograph. Date: Composed 1992. Dimensions: Overall size: 11 3/8 x 12 7/16 in. (289 x 316 mm). Image size: 8 1/2 x 9 1/16 in. (216 x 230 mm).Lot Note(s): Bears complimentary signature in pencil, lower right; titled and dated in the plate. A proof aside from the regular edition. Light cream wove paper. Full margins. Fine impression. Fine condition. Comment(s): A rare "flat-print" proof for a proposed "3-D" edition, not intended for sale or distribution. Rizzi was an American pop artist who was born and raised in Brooklyn, New York. While at the University of Florida he came up with the idea of 3D multiples now mostly associated with his name. Having taken classes in painting, printmaking, and sculpture, he had to hand in grade work for all three subjects, but only had time for doing one. So he created an etching, printed it twice, handcolored it, and mounted parts of the one print on top of the other, using wire as a means of adding depth. Printer unknown, edition published by John Szoke Editions, New York. [27789-3-400]

Artist: Steve Wheeler (American, 1912 - 1992). Title: "Dan Patch with His Girlfriend". Medium: Color wookcut. Date: Composed c1950. Dimensions: Overall size: 6 9/16 x 14 in. (167 x 0 mm).Lot Note(s): Signed "Wheeler" in pencil, lower right. Edition size unknown (perhaps never editioned, with only a few proofs pulled). Handmade cream paper. Ample margins. Fine impression. Good condition; printed off-center; a very small skilfully repaired puncture in the far upper center of the image, with no paper loss; creasing inherent in the paper in the left margin, away from the image; minor paper loss in the upper left margin, away from the image. Comment(s): Wheeler’s prints in woodcut and etching are rare. ‘Gordon’s Print Prices’ lists only his silkscreens – not a single woodcut or etching. He is often spoken of as one of the least appreciated, but most deserving, of 20th Century American artists. The influence of Arshile Gorky on Wheeler’s oeuvre is often overlooked. His work is increasingly being "discovered," as evidenced by the sale of his painting "W22 (Man Looking at Pork Chop)" at Christie's New York, 05/21/2008, lot #8, at $109,000 (including premium). There has been recent increasing interest in his fine prints as well. Image copyright © The Estate of Steve Wheeler. [30113-2-1200]

Artist: Karima Muyaes (Mexican, b.1960). Title: "Fuego". Medium: Color etching with aquatint. Date: Composed 2005. Dimensions: Overall size: 25 1/4 x 19 1/2 in. (641 x 495 mm). Image size: 15 1/2 x 11 11/16 in. (394 x 297 mm).Lot Note(s): Signed and dated in pencil, lower right; titled in pencil, lower center; numbered in pencil, lower left. Edition of 30. Pale cream wove paper. Full margins. Fine impression. Fine condition; two zinc plates utilized; printed by Emilio Payan, Mexico City. Literature/catalogue raisonne: James Orr's provisional catalogue number PR102. Provenance: Private collection, Santa Fe, New Mexico. This print was included in the one woman exhibition “Karima Muyaes: Retrospectiva, 1985-2007,” at the Museo de Arte Regional (Azcapotzalco), Mexico City, March-May, 2007. A Letter of Authenticity (LOA) from the Artist accompanies this lot. Comment(s): A listed artist, Karima Muyaes is currently one of the most innovative and talented international painters/printmakers. A major monograph on her work authored by Avelina Lesper, the foremost contemporary Mexican art critic, will be published early in 2021. Muyaes’s work has sold at Sotheby's (New York City), Swann Auction Galleries (New York City), Martin Gordon Auctions (Phoenix), Louis C. Morton (Mexico City), and Casa de Subastas Odalys (Madrid/Caracas), among others. In April of 2013 and again in 2018 she was chosen by the prestigious Mexican newspaper "Milenio" as one of the top 34 currently active Mexican artists and featured in a series of newspaper articles and TV appearances. Muyaes has an extensive worldwide exhibition history which includes a show that travelled throughout Sweden for two years, 2010-2012. Image copyright © Karima Muyaes. [10512-0-500]

A framed and glazed etching (19" x 23") of an unknown gentleman believed to be of railway importance, possibly Samuel Johnson of the Midland Railway

A poster print of an etching of the 'Gare Montparness Accident - 1895' - rolled (17.5" x 24")

Marino Marini (1901 Pistoia - 1980 Viareggio) (F)Blatt 6 aus 'Marino from Shakespeare I', Farbaquatintaradierung auf Bütten, 75,8 cm x 56,5 cm Blattmaß, signiert, 1977 datiert, XXXIV/L nummeriert, TrockenstempelMarino Marini (1901 Pistoia - 1980 Viareggio) (F)Sheet six of 'Marino from Shakespeare I', aquatint etching on laid paper, 75.8 cm x 56.5 cm sheet size, signed, dated 1977, numbered XXXIV/L, drystamped

Emil Schumacher (1912 Hagen - 1999 Ibiza) (F)Ohne Titel, Aquatintaradierung auf Bütten, 50 cm x 40 cm Blattmaß, signiert, 30/45 nummeriert, Papier geknickt, rückseitig Bleistift Rückstände, Kopie des Kaufbeleges anbeiEmil Schumacher (1912 Hagen - 1999 Ibiza) (F)Untitled, aquatint etching on laid paper, 50 cm x 40 cm sheet size, signed, numbered 30/45, paper slightly creased, pencil traces on the reverse, with a copy of the sales receipt

Salvador Dalí (1904 Figueres/Spanien - 1989) (F)'Die Geliebte ist schön wie eine Pferdeherde', aus 'Das Hohe Lied des Salomon', Farbradierung mit Goldauflage auf Bütten, 1971, 49 cm x 34,5 cm Passepartoutinnenmaß, signiert, 75/250 nummeriert, partiell stockfleckigSalvador Dalí (1904 Figueres/Spain - 1989) (F)'I have compared thee, o my love, to a company of horses', from 'The Song of Solomon', etching in colours with gold leaf on laid paper, 1971, 49 cm x 34.5 cm mat inner dimensions, signed, numbered 75/250, slightly foxmarked

Albín Brunovsky (1935 Zohor - 1997 Bratislava)'Jozef a Putifarka', Radierung auf Papier, 30,5 cm x 25,5 cm Passepartoutinnenmaß, signiert, 1967 datiert, betitelt, 3/20 nummeriertAlbín Brunovsky (1935 Zohor - 1997 Bratislava)'Jozef a Putifarka', etching on paper, 30.5 cm x 25.5 cm mat inner dimensions, signed, numbered 3/20

Albín Brunovsky (1935 Zohor - 1997 Bratislava)'Mene, mene, Tekel, ufarsin', Radierung auf Papier, 30,5 cm x 25,5 cm Passepartoutinnenmaß, signiert, 1966 datiert, betitelt, 3/20 nummeriertAlbín Brunovsky (1935 Zohor - 1997 Bratislava)'Mene, mene, Tekel, ufarsin', etching on paper, 30.5 cm x 25.5 cm mat inner dimensions, signed, numbered 3/20

Albín Brunovsky (1935 Zohor - 1997 Bratislava)'Expulsion from Paradise', Radierung auf Papier, 30,5 cm x 25,5 cm Passepartoutinnenmaß, signiert, 1967 datiert, betitelt, 3/20 nummeriertAlbín Brunovsky (1935 Zohor - 1997 Bratislava)'Expulsion from Paradise', etching on paper, 30.5 cm x 25.5 cm mat inner dimensions, signed, numbered 3/20

'Betrachtung. Dazu drei Eintragungen aus den Tagebüchern'Franz Kafka, 1990, Hamburg, Raamin-Presse, 32 SS., mit 5 ganzseitigen O.-Stichen in Kunstharz, kombiniert mit Ätzungen und Aluminium von Roswitha Quadflieg, OPp.-Schuber, signiert, 133/185 nummeriert, Schuber staubig'Betrachtung. Dazu drei Eintragungen aus den Tagebüchern'Franz Kafka, 1990, Hamburg, Raamin-Presse, 32 pgs., with 5 full page original etchings in artificial resin combined with etching and aluminium by Roswitha Quadflieg, original cardboard slipcase, numbered 133/185, slipcase dusty

William Lionel Wylie RA (1851-1931) etching The Grand Fleet at Scapa Flow The Kaiser Class with the flag of Admiral Von Reuter flying in the Frederich de Grosse being taken to Scapa Flow for internment byt he second Division of the Grand Fleet 25 November 1918 signed by the artist and Albany E Howard Fine Art Trade Guild blind stamp TMC, etching 31cm x 71cm, ebonised frame side 56cm x 91cm, some small spotting foxing and sun staining to mount otherwise generally good

Della Chapman, "Margaret Catchpole's Cottage", pencil signed etching

Emilie Tomanova Prague 1969, "Fairy Birds", pencil signed etching, label verso, purchased Heals Mansard Gallery, Czech Exhibition 1970

Georges Rouault (1891-1958) French ''Le Vieil Homme Chemine'' (The Old Man Plods On) Etching from ''Passion'' 1936, 34cm by 24cm Provenance: Goldmark Art Gallery, Uppingham Artist's Resale Rights/Droit de Suite may apply to this lot, please refer to our Terms of Business

Stanley William Hayter CBE (1901-1988) ''Serre'' Signed and dated (19)79, inscribed and numbered 23/75, etching, 75cm by 55.5cm (unframed) Artist's Resale Rights/Droit de Suite may apply to this lot, please refer to our Terms of Business The print has a lot of creases within the margins. Vertical creases within the red and areas of creasing within the green. Tear 3cm to centre of right margin- this does not go into the plate. The print has a deckled edge. Slight nick upper right within the green to the right of the red line and one to the upper centre of the black Also possible surface scratches within this area, slight nick/surface scratch to bottom right corner within the green. Pencil line diagonal through lower left margin up into the red and orange area. Scuffs and the odd very sporadic foxing spot to margins. See images. Viewing recommended.

Piers Browne (b.1949) ''From Ellerkin, Wensleydale: September Afternoon'' Signed, inscribed and dated (19)96, numbered 14/75, etching, 31cm by 57cm Artist's Resale Rights/Droit de Suite may apply to this lot, please refer to our Terms of Business See illustration

Norman Ackroyd CBE, RA (b.1938) ''Horn Head'' Signed and dated (19)98, inscribed and numbered 70/90 etching, 18cm by 25.5cm Artist's Resale Rights/Droit de Suite may apply to this lot, please refer to our Terms of Business See illustration Slight cockling to paper. Good overall condition. Not examined out of the frame.

Norman Ackroyd CBE, RA (b.1938) ''Bishop's Rock'' Signed and dated (20)05, inscribed and numbered 53/90, etching, 26cm by 37.5cm (unframed) Artist's Resale Rights/Droit de Suite may apply to this lot, please refer to our Terms of Business The print has a deckled edge. Crease upper left hand side with in the margin. Handling crease lower right mostly to the margin. Covered in a very thin layer of dust. Otherwise in good overall condition. Unframed.

Dame Elizabeth Violet Blackadder DBE, RA, RSA (b.1931) Scottish ''Banksia'' Signed and numbered 10/30, etching and aquatint, 19.5cm by 24.5cm Artist's Resale Rights/Droit de Suite may apply to this lot, please refer to our Terms of Business Slight cockling to paper. Otherwise in good overall condition. Not examined out of the frame.

David Hockney OM, CH, RA (b.1937) ''The Haunted Castle'' - (The Boy Who Left Home to Learn Fear) Artist's proof aside from the unsigned edition of 400, etching, one of 39 etchings created for the series ''Six Fairy Tales from the Brothers Grimm'', 40.5cm by 25cm Provenance: Goldmark Gallery, Rutland Artist's Resale Rights/Droit de Suite may apply to this lot, please refer to our Terms of Business See illustration The paper has a deckled edge. Cockling to paper. Otherwise good overall condition. Not examined out of the frame.

Artist: Henri Matisse (French, 1869 - 1954). Title: "Cite - Notre Dame". Medium: Original etching. Date: Composed 1937. Dimensions: Overall size: 20 x 15 1/16 in. (508 x 383 mm). Image size: 13 1/8 x 10 1/4 in. (333 x 260 mm).Lot Note(s): Signed in reverse in the plate, lower right. Edition of 500. Cream wove paper. Full margins. Fine impression. Fine condition. Literature/catalogue raisonne: D248. Comment(s): An example has sold at auction for as high as $2,585 (Christie's, East [19th & 20th Century, Contemporary Prints & Multiples, Sale #8423] - 09/20/2000 - Lot #71). Image copyright © The Estate of Henri Matisse. [17489-4-800]

Artist: Paul Klee (Swiss/German, 1879 - 1940). Title: "Jungfrau im Baum ["Virgin in the Tree"]". Medium: Lithograph after the original etching. Date: Composed 1903. Printed later. Dimensions: Overall size: 6 11/16 x 8 11/16 in. (170 x 221 mm).Lot Note(s): Titled in the plate, lower center; Felix Paul Klee handstamp, verso. Edition unknown, presumed small. Cream wove textured paper. Printed to the edge of the sheet. Fine impression. Very good to fine condition. Provenance: Acquired directly from Felix Paul Klee. Comment(s): Please note that the original image was created as an etching by Klee in 1903. At a later date the original etching was used to create this lithograph, hence the very low pre-sale estimates. This edition was authorized by Klee shortly before his death in 1940 but delayed by World War II until after the war. It was printed under the immediate supervision of Klee's son, Felix Paul Klee (1907-1990), a prominent art historian and later the director of the Paul Klee Foundation. Image copyright © Artists Rights Society (ARS), New York. [29301-1-400]

Artist: Jean Pierre Marie Jazet (French, 1788 - 1871). Title: "La promenade du Jardin Turc - 1810 [Paris]". Medium: Color engraving, etching, and aquatint, with handcoloring. Date: Composed 1812. Dimensions: Overall size: 16 x 23 3/4 in. (406 x 603 mm). Image size: 12 x 21 7/8 in. (305 x 556 mm).Lot Note(s): After Jean Joseph Bostier de Bez (1780-1845). An extremely rare proof (1 of 3) before letters. Cream wove paper. The full sheet, deckle edges four sides. An excellent impression. Condition: good; some foxing and browning with color attenuation; no serious problems. Literature/catalogue raisonne: See: Beraldi, Volume 8, pg. 229; IFF2; B4. Provenance: Ex-collection Cortlandt F. Bishop, with his stamp, verso; M. Knoedler, NYC, with their labels from frame back, separate from the print, since lost. Comment(s): A rare print even with letters. We could find only three sales at auction, all with letters, in the past 25 years, the last in 1995 (sold at $1,168). The print shows a part of the Boulevard du Temple, then called the Boulevard du Crime. "Jean Pierre Marie Jazet was one of the most prominent aquatint engravers of the Napoleonic era. He worked almost exclusively in aquatint, reproducing the paintings of the grand Republican artists such as David, Vernet, de Gros, and Grenier. Although the majority of his prints were patriotic images, he also produced many fine aquatints of pastoral paintings and genre scenes. His fresh images exhibit the beauty of the medium and exemplify his amazing technical ability. His extremely complex prints are fluid yet detailed; they express the beautiful painterly technique of the medium…" Courtesy: Donald A. Heald. [24412-4-800]

Artist: Pablo Picasso (Spanish, 1881 - 1973). Title: "L'Age de Soleil (Pour Roby)". Medium: Etching. Date: Composed 1960. Printed later. Dimensions: Overall size: 16 1/8 x 13 1/16 in. (410 x 332 mm). Image size: 9 1/8 x 7 1/8 in. (232 x 181 mm).Lot Note(s): Signed in reverse in the plate. The original edition was 114. Cream wove paper. Full margins (deckle edges four sides). Fine impression. Fine condition. Literature/catalogue raisonne: Bloch 680. Comment(s): Another impression of this work sold at an auction high of $1,880 in 2008. Image copyright © Artists Rights Society (ARS), New York. [25683-3-300]

Artist: Pierre Bonnard (French, 1867 - 1947). Title: "Le Parc Monceau". Medium: Original etching. Date: Composed 1937. Printed later. Dimensions: Overall size: 17 7/8 x 13 in. (454 x 330 mm). Image size: 13 1/4 x 10 1/8 in. (337 x 257 mm).Lot Note(s): Signed in the plate, lower left. Edition of 500. Cream laid paper. Very wide (full?) margins. Fine impression. Very good condition; would be fine condition but for a crease in upper right and left margin, well away from image, would be matted out when framed. Literature/catalogue raisonne: Francis Bouvet, “Bonnard: The Complete Graphic Work” #114. Comment(s): This print is sometimes erroneously called “Jardin public” or “Les Champs-Elysees.” Image copyright © Artists Rights Society (ARS), New York. [25685-3-300]

Artist: Karima Muyaes (Mexican, b.1960). Title: "Naufragio". Medium: Color etching with drypoint and aquatint a la poupee. Date: Composed 1983. Dimensions: Overall size: 19 13/16 x 14 7/8 in. (503 x 378 mm). Image size: 11 3/4 x 9 15/16 in. (298 x 252 mm).Lot Note(s): Signed, titled, dated and numbered in pencil. Print #5 of Edition of 5. Soft handling creases; otherwise fine condition. Upon request, a Letter of Authenticity (LOA) from the Artist accompanies this lot. Comment(s): The winner of the first prize in the print category at the Toronto School of Art in 1983, when the artist was 23. A listed artist, Karima Muyaes is currently one of the most innovative and talented international painters/printmakers. A major monograph on her work authored by Avelina Lesper, the foremost contemporary Mexican art critic, will be published early in 2021. Muyaes’s work has sold at Sotheby's (New York City), Swann Auction Galleries (New York City), Martin Gordon Auctions (Phoenix), Louis C. Morton (Mexico City), and Casa de Subastas Odalys (Madrid/Caracas), among others. In April of 2013 and again in 2018 she was chosen by the prestigious Mexican newspaper "Milenio" as one of the top 34 currently active Mexican artists and featured in a series of newspaper articles and TV appearances. Muyaes has an extensive worldwide exhibition history which includes a show that travelled throughout Sweden for two years, 2010-2012. Image copyright © Karima Muyaes. [18624-0-300]

Artist: Steve Wheeler (American, 1912 - 1992). Title: "Seafarers [tan]". Medium: Color etching. Date: Composed c1940. Dimensions: Overall size: 7 x 9 3/8 in. (178 x 238 mm).Lot Note(s): Signed "Wheeler" in pencil, lower right. Edition size unknown (perhaps never editioned, with only a few proofs pulled). Cream wove paper. Wide margins. Fine impression with pronounced platemark. Very good to fine condition; printed slightly off-center; would be fine save a few ink smudges in the margins. Comment(s): Wheeler’s prints in woodcut and etching are rare. ‘Gordon’s Print Prices’ lists only his silkscreens – not a single woodcut or etching. He is often spoken of as one of the least appreciated, but most deserving, of 20th Century American artists. The influence of Arshile Gorky on Wheeler’s oeuvre is often overlooked. His work is increasingly being "discovered," as evidenced by the sale of his painting "W22 (Man Looking at Pork Chop)" at Christie's New York, 05/21/2008, lot #8, at $109,000 (including premium). There has been recent increasing interest in his fine prints as well. Image copyright © The Estate of Steve Wheeler. [30114-1-800]

Jean-François Millet (French 1814-1875): Shepherdess and Her Flock in the Shade of Trees, etching c.1854/55 signed in the plate 24cm x 18.5cm

Sir Terry Frost RA (British 1915-2003): 'It is True' (Lorca Sun) (Kemp 130), lithograph and etching on Somerset paper signed titled dated '91 and numbered 13/25 in pencil 56cm x 38cm with full margins

Peter Godfrey Coker RA (British 1926-2004): Untitled, artist's proof etching with aquatint signed and dated '79 in pencil 65cm x 48cm (unframed)

MICHEAL CARLO (b.1915): A framed and glazed etching "February Track". Pencil signed and No. 104/200. Plate size 35cm x 50.5cm

Mixed pictures and prints including unframed and mounted pencil signed limited edition coloured etching by Margaret Levinson

Henry G. Walker, Boy in a Sailing Boat, etching, signed in pencil lower right, 21 x 32cm; together with a pair of prints. (3)

James Priddy 'Old Mill, Warwickshire' Artists Proof Etching, pencil signed, 22 x 29cm. E.G Earthrowl 'Old Holly and Poacher' original drypoint etching, pencil signed 25 x 32cmm map.(3)

Lyonel Feininger - - 1871 New York - 1956 New York The Disparagers (Die Höhnenden / Die Ausgestoßenen). 1911. Radierung. Prasse E 38. Signiert und datiert. In der Platte signiert, betitelt und datiert. Auf gelblichem Bütten. 21,7 x 26,4 cm (8,5 x 10,3 in). Papier: 30,5 x 34 cm (12 x 13,3 in). [KT]. • Seltenes und gesuchtes Blatt aus dem Frühwerk des Künstlers. • Feiningers Faszination für Architektur und Technische Konstruktionen lässt ihm wiederholt das Viadukt von Meudon zum Motiv werden, das er während einer Parisreise besichtigt. • Weitere Exemplare des faszinierenden Blattes befinden sich im Museum of Modern Art, New York sowie dem Art Institute, Chicago. PROVENIENZ: Sammlung Dr. Keins, Buenos Aires. Privatsammlung (vom Vorgenannten erworben). Aufrufzeit: 18.06.2021 - ca. 14.50 h +/- 20 Min. Dieses Objekt wird differenzbesteuert, zuzüglich einer Einfuhrumsatzabgabe in Höhe von 7 % (Ersparnis von etwa 5 % im Vergleich zur Regelbesteuerung) oder regelbesteuert angeboten (N).ENGLISH VERSIONLyonel Feininger -1871 New York - 1956 New York The Disparagers (Die Höhnenden / Die Ausgestoßenen). 1911. Etching. Prasse E 38. Signed and dated. Signed, titled and dated in the plate. On yellowish laid paper. 21.7 x 26.4 cm (8.5 x 10.3 in). Sheet: 30,5 x 34 cm ( x 12 x 13,3 in). [KT]. • Rare and sought-after sheet from the artist's early creative period. • Feininger's fascination with architecture and technical constructions made the Meudon Viaduct a motif that he visited during a trip to Paris. • Further copies of the fascinating sheet are in the Museum of Modern Art, New York and the Art Institute, Chicago. PROVENANCE: Collection Dr. Keins, Buenos Aires. Private collection (acquired from the above). Called up: June 18, 2021 - ca. 14.50 h +/- 20 min. This lot can be subjected to differential taxation plus a 7% import tax levy (saving approx. 5 % compared to regular taxation) or regular taxation (N).

Joseph Beuys - - 1921 Krefeld - 1986 Düsseldorf Zu Terremoto. 1982. Radierung und Bleistiftzeichnung. Schellmann 456 B (von B). Links oben signiert und bezeichnet 'a.p. 5/20'. Verso abermals signiert, datiert und mit Technikangabe versehen. Aus einer Auflage von 20 Künstlerdrucken. Auf Velin von Fabriano (mit Wasserzeichen). 16 x 12 cm (6,2 x 4,7 in). Papier: 49,5 x 35,4 cm (19,4 x 13,9 in). Gedruckt von Sebaste Carella, Studio Bernalda (mit Trockenstempel) und herausgegeben von der Galerie Schmela, Düsseldorf. [EH]. • Visualisierung der physischen, psychischen und sozialen Folgen des Erdbebens im Mezzogiorno. • Für Beuys birgt diese konzertierte Künstleraktion auch Potenzial zur Veränderung. PROVENIENZ: Galerie Schmela, Düsseldorf. Privatsammlung Deutschland (1984 beim Vorgenannten erworben). AUSSTELLUNG: Joseph Beuys: Wo ist Element 3?, Ketterer Kunst, Berlin, 26.3.–22.5.2021. Nach einem schrecklichen Erdbeben im Mezzogiorno am 23. November 1980 regt der Galerist Lucio Amelio seine Künstler an, Arbeiten zum Thema 'Erdbeben' zu schaffen, die in der Villa Campolieto ausgestellt werden. Beuys konzipiert 1981 den Raum „Terremoto in Palazzo“ und die Skulptur „Terremoto“, deren Erlös er darüber hinaus aus Solidarität mit der linken Gruppe „Lotta Continua“ für den Erhalt der gleichnamigen Zeitung spendet. Auf eine der an eine ausgediente Setzmaschine der italienischen Druckerei gelehnten Tafeln finden sich die schmerzvollen Physiognomien der übereinander gestaffelten mit Kreide gezeichneten Köpfe, die Beuys auf der vorliegenden Radierung wiederholt. [Eugen Blume] Aufrufzeit: 19.06.2021 - ca. 12.42 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten.ENGLISH VERSIONJoseph Beuys -1921 Krefeld - 1986 Düsseldorf Zu Terremoto. 1982. Etching and Pencil drawing. Schellmann 456 B. Signed and inscribed 'a/p 5/20' in upper left. Verso once more signed, dated and inscribed with the dimensions. From an edition of 20 artist proofs. On Fabriano wove paper (with watermark). 16 x 12 cm (6.2 x 4.7 in). Sheet: 49,5 x 35,4 cm (19,4 x 13,9 in). Printed by Sebaste Carella, Studio Bernalda (with blindstamp) and published by Galerie Schmela, Düsseldorf. • Visualization of the physical, psychological and social aftermath of the earthquake in the Mezzogiorno. • For Beuys this concerted artist action bears potential for change. PROVENANCE: Galerie Schmela, Düsseldorf. Private collection Germany (acquired from aforementioned in 1984). EXHIBITION: Joseph Beuys: Wo ist Element 3?, Ketterer Kunst, Berlin, March 26 – May 22, 2021. After a terrible earthquake in the Mezzogiorno region on November 23, 1980, the gallery owner Lucio Amelio encouraged his artists to create works on the theme of 'earthquakes', which were exhibited in the Villa Campolieto. In 1981 Beuys created the room “Terremoto in Palazzo” and the sculpture “Terremoto”, proceeds of which went to the left-wing group “Lotta Continua” to fund the newspaper of the same name. The painful physiognomies of the heads in chalk, which Beuys repeated in this present etching, can be found on one of the plates leaning against an old typesetting machine in the Italian printshop. [Eugen Blume] Called up: June 19, 2021 - ca. 12.42 h +/- 20 min. This lot can be purchased subject to differential or regular taxation.

JAMES GILRAY Posting in Ireland . Hand-coloured etching and aquatint published by Hannah Humphrey 8 April 1805 320mm x 398mm together with the companion portrait published one month later by JAMES GILRAY Posting in Scotland hand-coloured etching and aquatint published by Hannah Humphrey 25 May 1805. * These two satirical etchings are among the largest James Gilray produced and were signed C.Lorraine Smith in comic reference to Claude Lorraine the classic landscape artist.

CHARLES HOLME (ED): MODERN ETCHING AND ENGRAVING, London, The Studio, 1902, 1st edition, 4to, original wraps, lacks most of backstrip and wraps detached

Collection of four oils of 18th century folk in gilt frames along with 18th century French etching of a Gentleman.