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

SEAN CRAMPTON (1918-1999) Fox in Landscape 1957 etching, limited edition 4/5, artists proof. Crampton was a past President of The Royal Society of British Sculptors. Plate size 24.7cm x 35.2cm

STEPHEN VAUGHAN (Irish, b.1970) 'Conduit', 1997 mixed media (etching, carborundum, collograph and screen print). Hardwood framed and glazed. Signed verso by the artist. Image size 56cm x 76cm. His works held in collections in Ireland including The Arts Council of Ireland, New York, London etc

FRANK BRANGWYN (1895-1974), "The Pier", etching, signed in pencil, 5 1/4" x 6 1/2", blond wood frame (subject to Artists Resale Right) (Est. plus 21% premium inc. VAT)very good

FRANK WILL, A VIEW OF NOTRE DAME AND THE SEINE, PARIS. COLOURED ETCHING. SIGNED IN PENCIL

ETCHING PRINT OF A LITTLE BIRD ON A CHERRY TREE BRANCH IN THE RAIN, ENTITLED ''REALLY WET'', SIGNED HARRY ROWNTREE

ETCHING PRINT BY FRANK BRANGWYN RA OF SCAFFOLDING ON A BUILDING

FRENCH ETCHING PRINT, INDISTINCTLY SINGED & INSCRIBED IN FRENCH AND DATED 1902

PABLO PICASSO (1881-1973)Sculpteur et Modèle agenouillé, from La Suite Vollard, 1933 signed in pencil etching, on Montval laid paper with Vollard watermark44.5 x 33.8cm (17 1/2 x 13 5/16in).This work is from the edition of 260, printed by Lacourière, published by Ambroise Vollard, Paris, 1939Footnotes:ProvenanceThe Estate of H.M Petiet, Paris.Acquired from the above by the current owner.LiteratureGeorges Bloch, Catalogue de l'oeuvre gravé et lithographié, Volume I, 1904-1967, Berne, 1968 (Bl.178). Geiser & Baer, Picasso Peintre-graveur, Catalogue raisonné de l'oeuvre gravé, Volume II, 1899-1931, Berne, 1990 (B.331.B.d).This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

PABLO PICASSO (1881-1973)Scène bacchique au Minotaure, from La Suite Vollard, 1933 signed in penciletching, on Montval laid paper with Picasso watermark34.4 x 44.3cm (13 9/16 x 17 7/16in).This work is from the edition of 260, printed by Lacourière, published by Ambroise Vollard, Paris, 1939Footnotes:LiteratureGeorges Bloch, Catalogue de l'oeuvre Gravé et lithographié, Volume I, 1904-1967, Berne, 1968 (Bl.192).Geiser & Baer, Picasso Peintre-graveur, Catalogue raisonné de l'oeuvre gravé, Volume II, 1932-1934, Berne, 1992 (B.351.III.B.d.).If all the ways I have been along were marked on a map and joined up with a line, it might represent a Minotaur. Pablo Picasso, 1960 In this image, the Minotaur is associated with the figure of Bacchus,God of wine and ecstasy, taking part in a bacchanal, or drunken revelryinvolving singing, dancing, libations and, in some accounts, sexualintercourses of a rather lustful nature. The sensual and, at the sametime, perverse aspect of the scene is wonderfully expressed in theloose etched lines, the bold curved lines, grinning face of the God andcontorted bodies and facial expressions of the women.Bacchus also represented the juice, the lifeblood element in nature,and his presence here alongside the Minotaur, drinking wine, remindsus both of the unnatural and monstrous circumstances of theMinotaur's birth and ensuing sacrifice to the monster of young menand women by his guilt-stricken father Minos, as well as of the Mithraicfestivities in Antiquity when a bull was sacrificed and feasted upon withwine to grant immortality to the followers of the cult.The scene also offers a nod to the ambient hyper-interpretativesurrealism of the period, where sexual desires and nightmare orgrotesque visions were celebrated, not without a certain dose ofhumour in Picasso's circle, as mirroring visions from the depths of theartists' minds.Of course, the Minotaur was a figure celebrated by the Surrealists,who embraced the supernatural monster's 'power [to breach] theboundaries of the irrational' as expressed by Brassaï. They in factnamed their main journal after the creature: Le Minotaure magazinewas published between 1933 and 1939, at the same time as Picasso'sdevelopment of the theme in the Suite Vollard, and he naturallycontributed illustrations to the magazine.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

PABLO PICASSO (1881-1973)Minotaure aveugle guidé par une Fillette II, from La Suite Vollard, 1933 signed in penciletching, on Montval laid paper with Montgolfier watermark38.4 x 50.2cm (15 1/8 x 19 3/4in).This work is from the edition of 50, printed by Lacourière, published by Ambroise Vollard, Paris, 1939Footnotes:ProvenanceThe Estate of H.M Petiet, Paris.Acquired from the above by the current owner.LiteratureGeorges Bloch, Catalogue de l'oeuvre gravé et lithographié, Volume I, 1904-1967, Berne, 1968 (Bl.223). Geiser & Baer, Picasso Peintre-graveur, Catalogue raisonné de l'oeuvre gravé, Volume II, 1935-1945, Berne, 1986 (B.435.B.d).This work is perhaps one of the best known and most admired printsfrom the Suite Vollard. An etching of great complexity and intensity,Minotaure aveugle guidé par une Fillette II is the second of fourconsecutive prints dedicated to the subject in the suite. It was nodoubt an important scene for Picasso, one for which he showed anobsessive involvement as he also did many drawings of the subject.There have been many attempts to explain the symbolism of the workand it is generally acknowledged that it is Picasso presenting himselfas his alter-ego, the Minotaur. Rather than the usual overt sexualityand virility associated with the monster (as depicted in lots 7 & 12),the Minotaur here appears blind and vulnerable, in a dramatic nightsetting reminiscent in design to a scene from a Greek tragedy.The little girl guiding the creature bears the traits of Marie-Thérèse,Picasso's pregnant lover at the time to whom he had offered a dove,the bird of peace she is carrying here. Her appearance is innocentand sweet as she gently leads the blinded creature towards the gateat the left.Brigitte Baer has wondered whether the sailors in the background arean attempt at personifying traditional family principles of 19th centuryBarcelona, where she believes the scene could be set. Picasso hadvisited Barcelona with his then wife Olga and their son in Septemberand was perhaps experiencing conflicted feelings. He was obviouslytransgressing traditional marital values because of his affair with MarieThérèse, and the guilt intertwined with his amorous passion could wellhave blinded the Minotaur.Yet Marie-Thérèse seems to represent a haven of peacefulness andvoluptuous tranquillity in opposition to the bitterness felt in his unhappymarriage to Olga; Picasso had lost much of his inspiration andcreativity which were revived after his chance encounter with MarieThérèse in 1927.Is this in fact Olga to the right, statuesque in aspect and seeminglywatching the scene with a detached, estranged gaze? In an earlierversion of the work (see Baer 434), Picasso's re-interpretation ofJacques-Louis David La Mort de Marat, done in July of the same year,was present in the upper left of the plate. This was a piece said tocaricature Olga's – as Charlotte Corday – deathly aggression of MarieThérèse as Marat, which imbued the scene with a tragic aspect.One wonders if the scene here is therefore a hopeful one, in which theMinotaur, guided by the serene Marie-Thérèse, is taken to a brighterplace of comfort and tranquillity. Or is he, blinded by his passion,walking towards more trouble and conflicts? One can only think of thetumultuous years to come afterwards, both in the artist's personal lifeand politically, to attempt a guess.The importance of this work could then be read both in its obsessiverepetition in the artist's creative output of the time, as well as a pivotal,suspended moment in time: uneasy in his deteriorating relationshipwith Olga, expecting a child from Marie-Thérèse, with the SpanishCivil War, Nazism and war growling rampant, all to later explode inPicasso's etching masterpiece La Minotauromachie the following year,and of course in Guernica in 1937This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

PABLO PICASSO (1881-1973)Garçon et dormeuse à la chandelle, from La Suite Vollard, 1933 signed in penciletching with aquatint, on Montval laid paper with Montgolfier watermark38.3 x 50.3cm (15 1/16 x 19 13/16in).This work is from the edition of 50, printed by Lacourière, published by Ambroise Vollard, Paris, 1939Footnotes:ProvenanceThe Estate of H.M. Petiet, Paris. Acquired from the above by the current owner.LiteratureGeorges Bloch, Catalogue de l'oeuvre gravé et lithographié, Volume I, 1904-1967, Berne, 1968 (Bl.226). Geiser & Baer, Picasso Peintre-graveur, Catalogue raisonné de l'oeuvre gravé, Volume II, 1932-1934, Berne, 1992 (B.440.III.B.c).''In front of your copper plate you are always the voyeur. That is why I have engraved so many embracing couples'' PABLO PICASSOCreated in November 1934, this work is one of 100 etchings fromPablo Picasso's Suite Vollard produced between 1930 and 1937. Theseries commissioned and consequentially named after one of the mostinfluential dealers of European art, Ambroise Vollard, remains one ofPicasso's most celebrated works.The sombre scene shows a young man gazing at the sleeping formof a woman, her voluptuous figure illuminated by the soft light of acandle. The figure, who is thought to resemble Picasso's lover andmuse at the time, Marie-Thérèse Walter, is unaware of her transfixedmale admirer, deep in thought. The etching presents a complexdepiction of iconography and phycological turmoil; the model asleepwas a common motif at the time of Picasso's relationship with MarieThérèse Walter and would reoccur throughout his later works.The candle that appears in this etching, appears again in one ofPicasso most admired works of art, La Minotauromachie. Held outin front of her by a girl, the intricate piece is full of symbolic contentwhile representing both turmoil and hope. In both works, the candlebecomes a powerful focal point within the composition bringinga sense of hope through the darkness in La Minotauromachiewhilst projecting a feeling of foreboding in Garçon et dormeuse à lachandelle.It was around this time that Marie-Thérèse became pregnant, andsome scholars have suggested that this etching was created aftershe had broken the news to Picasso. It has been said that the youngman lost in thought could represent Picasso himself and his initialcontemplations on hearing that he was to become a father.This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

PABLO PICASSO (1881-1973)Les Deux Saltimbanques, from La Suite des Saltimbanques, 1905 etching and drypoint, on van Gelder Zonen wove paper50.5 x 33cm (19 7/8 x 13in).This work is from the edition of 250, printed by Louis Fort, published by Ambroise Vollard, Paris, 1913Footnotes:LiteratureGeorges Bloch Catalogue de l'oeuvre gravé et lithographié, Volume I, 1904-1967, Berne, 1968 (Bl.5). Geiser & Baer Picasso Peintre-graveur, Catalogue raisonné de l'oeuvre gravé, Volume I, 1899-1931, Berne, 1990 (B.6.III.b.2.).This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

PABLO PICASSO (1881-1973)Mademoiselle Leonie, from Max Jacob: Saint Matorel, 1910 etching, on Van Gelder laid paper26 x 22.4cm (10 1/4 x 8 13/16in).This work is from the edition of 100, printed by Dêlatre, published by D. Henry Kahnweiler, Paris, 1911Footnotes:ProvenanceRex Irwin gallery, Sydney.Acquired from the above by the current owner. ExhibitedEncounters with Modern Art: Works from the Rothschild Family Collection, National Gallery of Art, Washington, 22 September 1996 - January 26 1997. Philadelphia Museum of Art, 2 March - 11 May 1997. San Francisco Museum of Art, October 4 1997 - January 4th 1998.LiteratureGeorges Bloch, Catalogue de l'oeuvre Gravé et lithographié, Volume I, 1904-1967, Berne, 1968 (Bl.19). Geiser & Baer, Picasso Peintre-graveur, Catalogue raisonné de l'oeuvre gravé, Volume I, 1899-1931, Berne, 1990 (B.23).This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

PABLO PICASSO (1881-1973)Peintre et Modèle, 1965 signed and numbered 32/50 in penciletching and aquatint, on Richard de Bas wove paper32.5 x 43.5cm (12 13/16 x 17 1/8in).Published by Galerie Louise Leiris, ParisFootnotes:LiteratureGeorges Bloch Catalogue de l'oeuvre gravé et lithographié, Volume I, 1904-1967, Berne, 1968 (Bl.1213). Geiser & Baer Picasso Peintre-graveur, Catalogue raisonné de l'oeuvre gravé, Volume V, 1959-1965, Berne, 1989 (B.1195.B.b.1.).This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

PABLO PICASSO (1881-1973)Viol, avec un coq, from Le Cocu Magnifique, 1966 signed and numbered 15/30 in penciletching and aquatint with drypoint and scraper, on Richard de Bas paper36.7 x 47.9cm (14 7/16 x 18 7/8in).Published and printed by Atelier Crommelynck, ParisFootnotes:LiteratureGeorges Bloch, Catalogue de l'oeuvre gravé et lithographié, Volume I, 1904-1967, Berne, 1968 (Bl.1255). Geiser & Baer, Picasso Peintre-graveur, Catalogue raisonné de l'oeuvre gravé, Volume VI, 1966-1968, Berne, 1994 (B.1443.II.B.b).Patrick Cramer, Pablo Picasso: The Illustrated Books Catalogue Raisonné, Geneva, 1983 (CR.140).This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

PABLO PICASSO (1881-1973)Orage, Enlèvement, Poursuite, from Series 347, 1968 signed and numbered 29/50 in pencil etching and drypoint, on wove paper36.2 x 47cm (14 1/4 x 18 1/2in).Printed by Atelier Crommelynck, published by Galerie Louise Leiris, Paris, 1978Footnotes:LiteratureGeorges Bloch, Catalogue de l'oeuvre gravé et lithographié, Volume II, 1966-1969, Berne, 1971 (Bl.1585). Geiser & Baer, Picasso Peintre-graveur, Catalogue raisonné de l'oeuvre gravé, Volume VI, 1966-1968, Berne, 1994 (B.1601.II.Bb1).This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

PABLO PICASSO (1881-1973)Dans l'Atelier: Peintre, Modèle et Spectatrice, 1963 signed and numbered 74/150 in penciletching, on Auvergne Richard de Bas paper30.6 x 28.5cm (12 1/16 x 11 1/4in).Printed by Crommelynck, published by Editions Cercle d'Art, ParisFootnotes:LiteratureGeorges Bloch Catalogue de l'oeuvre gravé et lithographié, Volume I, 1904-1967, Berne, 1968 (Bl.1139). Geiser & Baer Picasso Peintre-graveur, Catalogue raisonné de l'oeuvre gravé, Volume V, 1959-1965, Berne, 1989 (B.1136, B.b.).Patrick Cramer, Pablo Picasso: The Illustrated Books Catalogue Raisonné, Geneva, 1983 (CR.130).This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

PABLO PICASSO (1881-1973)Jeune Sculpteur au travail, from La Suite Vollard, 1933 signed in penciletching, on Montval laid paper with Vollard watermark44.5 x 34cm (17 1/2 x 13 3/8in).This work is from the edition of 260, printed by Lacourière, published by Ambroise Vollard, ParisFootnotes:LiteratureGeorges Bloch, Catalogue de l'oeuvre gravé et lithographié, Volume I, 1904-1967, Berne, 1968 (Bl.156). Geiser & Baer, Picasso Peintre-graveur, Catalogue raisonné de l'oeuvre gravé, Volume II, 1932-1934, Berne, 1992 (B.309.B.d).The Suite Vollard is regarded as one of Picassos' greatest printmakingachievements. It was commissioned by, and named in honour of,Ambroise Vollard, one of the most influential art dealers of the late19th and early 20th centuries, who had given the young Picasso hisfirst exhibition in Paris in 1901 and would play a fundamental rolein the artist's career. Their close association meant that no formalcontract was drawn up for the suite. Instead, Vollard agreed to givePicasso two paintings by Renoir and Cézanne in exchange for thecopperplates.The suite is composed of 100 etchings executed between 1930 and1937. Vollard may have been proposing to publish the collection as abook, which would explain the large edition size of 50 on large paperand 260 on small paper. Rather than illustrating one subject, Picassoexplored several themes of particular interest to him: the sculptor'sstudio, the battle of love, Rembrandt, the Minotaur and the blindMinotaur. There were also three portraits of Vollard.The auction contains both signed and unsigned impressions. Theplan was for the whole edition to be signed by Picasso, but this taskwas never completed, due mainly to the untimely death of AmbroiseVollard in a car crash in July 1939. At this point, Picasso had onlysigned a few impressions. The Parisian art dealer, Henri Petiet,purchased the prints and took on the task of publishing the editionand Picasso agreed to sign one complete set of the suite. Petietbegan sending Picasso packages containing 100 or 200 prints at atime for him to sign, paying the artist 100 francs per signature, buteventually Picasso abandoned the practice and it is not recordedexactly how many impressions were signed.The series was a tour de force, exploring the themes of artisticcreativity, ambition, sexuality and obsession through classical andmythological references. The extended period of execution meantthat events in Picasso's personal life and concerns arising from worldevents, such as the rise in fascism and the outbreak of civil war inSpain, were absorbed into the creation of the etchings, so it can beviewed as an autobiographical work, with a historical and politicalresonance.This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

PABLO PICASSO (1881-1973)Le Repos du Sculpteur devant une bacchanale au taureau, from La Suite Vollard, 1933 signed in penciletching, on Montval laid paper with Montgolfier watermark38.8 x 50.2cm (15 1/4 x 19 3/4in).This work is from the edition of 50, printed by Lacourière and published by Ambroise Vollard, Paris, 1939Footnotes:ProvenanceThe Estate of H.M. Petiet, Paris.Acquired from the above by the current owner.LiteratureGeorges Bloch, Catalogue de l'oeuvre gravé et lithographié, Volume I, 1904-1967, Berne, 1968 (Bl.165). Geiser & Baer, Picasso Peintre-graveur, Catalogue raisonné de l'oeuvre gravé, Volume II, 1932-1934, Berne, 1992 (B.318.B.c).This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

PABLO PICASSO (1881-1973)Sculpteur et trois danseuses sculptées, from La Suite Vollard, 1933 etching, on Montval laid paper with Vollard watermark33.8 x 44.2cm (13 5/16 x 17 3/8in).This work is from the edition of 260, printed by Lacourière, published by Ambroise Vollard, Paris, 1939Footnotes:ProvenanceThe Estate of H.M Petiet, Paris; with his blindstamp recto (Lugt 5462).Acquired from the above by the current owner.LiteratureGeorges Bloch, Catalogue de l'oeuvre gravé et lithographié, Volume I, 1904-1967, Berne, 1968 (Bl.217). Geiser & Baer, Picasso Peintre-graveur, Catalogue raisonné de l'oeuvre gravé, Volume II, 1935-1945, Berne, 1986 (B.421.B.d.).This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Shulima (Russian 20th Century): a mixed media coloured etching with embossed border, signed in pencil, 25 x 10 cm (image), framed; a similar etching: 'Soloist'

Prints - Wilfred Ball, by and after, The Thames Estuary looking towards London, etching, signed, 19cm x 47cm; others T Boyes, The Fish Market Antwerp; Messonier, The Flute Player etc

A ALLAN watercolour - Country House, an unsigned watercolour of a mountainous landscape and a CLAUDE ROWBOTHAM signed etching

M Oliver Rae/Calcutta & Big Ben, 1928/etching, 39cm x 25cm/and two lithographs

Samuel Palmer (1805-1881)/The Herdsman's Cottage/numbered x in pencil to top right margin/etching, 11cm x 8.5cm/see illustration CONDITION REPORT: This is a well inked good impression, the paper may have very slightly discoloured, the white streak on the attached image is a reflection

VNB/Figures in a Wooded Landscape/initialled and dated 1757/etching, 10.5cm x 15cm

Österreichischer Grafiker 2. H. 20. Jh., Ansicht von Salzburg, kolorierte Radierung, u. re. undeutlich handsign., u. li. num. 53/250, in der Platte monogramiert "cMK" u. dat. 1982, 29 x 45 cm, hinter Glas ger. 57 x 70 cm Austrian graphic artist 2nd half of the 20th century, view of Salzburg, colored etching, a. re. indistinct handsign., u. left num. 53/250, monogrammed ''cMK'' a. dat. 1982, 29 x 45 cm, framed behind glass 57 x 70 cm

Catharina Cosin (*1940), Liegende mit entblößter Brust, Kaltnaderadierung, u. re. mit Bleistift handsign. u. dat. (19)75, u. li. als Ex. e.a. bez., 37 x 25 cm, hinter Glas u. Pp. im Wechselrahmen 80 x 60 cm Catharina Cosin (* 1940), lying with exposed breast, drypoint etching, and the like re. handsigned in pencil u. dat. (19) 75, u. left as Ex. e.a. marked, 37 x 25 cm, behind glass u. PP in the removable frame 80 x 60 cm

Gerhard Reinisch (*1936), deutscher Landschaftsmaler u. Grafiker, stud. in Magdeburg u. an der AK Berlin-Weißensee, in Schwerin tätig. Zwei Grafiken: eine figürliche Farbradierung, sowie ein Lithographie mit drei Musikern, jeweils handsign. u. dat., bis 44 x 39 cm, hinter Glas u. Pp. im Wechselrahmen 85 x 65 cm Gerhard Reinisch (* 1936), German landscape painter u. Graphic artist, stud. in Magdeburg u. at the AK Berlin-Weißensee, working in Schwerin. Two graphics: a figurative color etching and a lithograph with three musicians, each handsigned. u. dat., up to 44 x 39 cm, behind glass u. PP in the removable frame 85 x 65 cm

Michael Coudenhove-Kalergi (1937-2018), österreichischer Maler und Grafiker, "Der Stephansdom in Wien", dezent aquarellierte Radierung, u. re. handsign., u. li. num. 30/100, in der Platte dat. 1975, 20 x 14,5 cm, hinter Glas ger. 37 x 32 cm Michael Coudenhove-Kalergi (1937-2018), Austrian painter and graphic artist, ''St. Stephen's Cathedral in Vienna'', discreet watercolor etching, u. re. handsign., u. left num. 30/100, in the plate dated 1975, 20 x 14.5 cm, behind glass ger. 37 x 32 cm

Johannes Grützke (1937-2017), drei Originalgrafiken: ein Blatt aus "Basler Spiele" 1969, eine Schabradierung als Zustandsdruck II. von der unverstählten Platte, sowie ein Offset "Blinde Kuh", jeweils handsigniert und dat., Blattmaße bis 47 x 59 cm Johannes Grützke (1937-2017), three original graphics: a sheet from ''Basler Spiele'' 1969, a scraved etching as condition print II. From the unstabilized plate, and an offset ''Blinde Kuh'', each signed and dated, sheet size up to 47 x 59 cm

Meta Plückebaum (1876-1945), Düsseldorfer Kinder- und Tiermalerin, Blatt mit 9 kleinen Zeichnungen, sowie Radierung "Der Talismann", jeweils handsign., bis 12 x 19 cm, hinter Glas u. Pp. ger. bis 23 x 31 cm Meta plum tree (1876-1945), children's and animal painter from Düsseldorf, sheet with 9 small drawings, as well as etching ''Der Talismann'', each handsign., Up to 12 x 19 cm, behind glass u. Pp. Ger. up to 23 x 31 cm

The sword is of regulation specifications with a standard 31.1/2" single fullered blade. Blade in clean condition. No maker mark present. "GR V" cypher. Otherwise standard floral etching with star and brass disc proof mark. Scabbard has missing chape.

etching, signed, dated '96, titled and numbered 8/20sheet size: 29 by 10,5cm

etching, signed, dated '96, titled and numbered 6/20sheet size: 29 by 10,5cm

etching, signed, dated '85 and numbered 2/20 in pencil in the margin sheet size: 41 by 33cm

etching, signed and numbered 4/10 sheet size: 55,5 by 46cm

etching with watercolour, signed, stamped, dated 06 and inscribed 'Ets 18/120' in pencil in the margin sheet size: 19 by 16cm

etching with watercolour, signed, stamped, dated 06 and inscribed 'Ets 5/120' in pencil in the marginsheet size: 19 by 16cm

etching with watercolour, signed, dated 90, inscribed with the title and numbered FNB 1/5 in pencil in the marginsheet size: 28 by 22cm

etching with watercolour, signed, stamped, dated 02 and inscribed 'Ets 101/120' in pencil in the marginsheet size: 37 by 56cm

etching and aquatintsigned and dated 19 Mai 1978sheet size: 75,5 by 56,5cm

JAMES McNEIL WHISTLER (American 1834-1903), "Chelsey", 1882. Framed etching. 40 x 33cm

A Thomas LaDell etching, College Square Rotherham, framed, artist signed and titled, (30cm x 25cm)

H. W. Ranger, a Dry Point Etching and a Watercolour Cottage Landscape

Pierre Alechinsky (1927 Schaarbeek) Lithograph, pochoir and etching on paper, signed Pierre Alechinsky, ** Fenétre II **, No. 8/99. - size height and width 100 x 68 cm - frame 123 X 90 cm

Pierre Alechinsky (1927 Schaarbeek) Aquatint etching, signed Pierre Alechinsky, ** Krach **, 1976, No. 75/99. - size height and width 57 X 76 cm - frame 80 X 99 cm

René Magritte (1898 - 1967) Etching aquatint in colors. In the plate René Magritte, ** L'Oeil **, 1968, (from: Le Lien de Paille), gen: E / A. - size height and width 36 X 27 cm - frame 70 X 65 cm

Pierre Alechinsky (1927 Schaarbeek) Etching aquatint signed. Pierre Alechinsky, ** Le chien roi **, No. 20/75. - size height and width 58 X 76 cm - frame 93 X 113 cm

René Magritte (1898 - 1967) Etching aquatint signed. René Magritte, ** Le 16 September **, No. VIII / XXV. - size height and width 39 X 31 cm - frame 81 X 73 cm

Pierre Alechinsky (1927 Schaarbeek) Etching and aquatint signed Pierre Alechinsky, ** Four steps in the untranslatable **, signed: Sept - size height and width 64 X 45 cm - frame 84 X 66 cm

Bernar Venet (1941) Etching and aquatint signed Benar Venet, ** Random Combination of Indeterminate **, 2019, No. 3/50. - size height and width 68 X 90 cm - frame 90 X 112 cm

Pierre Alechinsky (1927 Schaarbeek) Etching and aquatint signed Pierre Alechinsky, 1991, ** Chicago **. - size height and width 100 X 69 cm - frame 111 X 79 cm

Roger Raveel (1921 - 2013) Etching signed Roger Raveel, fully hand colored by Roger Raveel himself. ** Father in front of the studio window **, No. II / X. - size height and width 51 X 41 cm - frame 82 X 65 cm

Pol Bury (1922 - 2005) Etching aquatint signed Pol Bury, ** Circle on an acute angle **, (1973), No. 16/50. - size height and width 51 X 63 cm - frame 71 X 87 cm

Untitled etching and aquatint 35 x 75cm

Untitled etching and aquatint 35 x 75cm

Onlookers lithograph and etching 70 x 95.5cm multiples available

CHARLES NAILLOD (1876-1941) 'Girl with Hat on a Terrace', hand coloured etching, signed and numbered, framed.

A Vintage Schatz dome clock, Kein dome clock, Brass letter box bank and small etching drawing signed.