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78472 Los(e)/Seite
Los 620
A German Third Reich propaganda etching depicting a nude Arian male with sword and eagle clutching swastika to foreground with scenes of industry and agriculture to background, probably produced as part of the 1936 exhibition, unsigned, 37 x 26.5cm, framed and glazed.Additional InformationFrame with scratches, wear and scuffs, image itself is slightly wavy, some creases and light marks.
Los 627
MARK CLARK (Contemporary); a limited edition etching, study of a nude lady no. 33/120, signed and dated '06 lower right, 29.5 x 18.5cm, framed and glazed. (D)Additional InformationThis lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk or http://artistscollectingsociety.org
Los 701
Norman Wilkinson CBE (British 1878-1971), The Battle Cruiser HMS Lion, Drypoint etching, signed by the artist, in pencil lower left, and also signed lower right by Admiral Beatty. (HMS Lion was Beatty's flagship during The Battle of Dogger Bank 1915, and Jutland 1916). Provenance: The Royal Naval Club & Royal Albert Yacht Club, Old Portsmouth
Los 1316
Egon Schiele Kauernde, 1914 Kaltnadelradierung auf Japanpapier, ungerahmt, 56,7 x 40,8 cm (Blattgröße), 47,8 x 31,5 cm (Darstellungsgröße) Auflage des Avalun-Verlages, 1919 aus einer Auflage von 50 Abzügen auf Japanpapier (Gesamtauflage 200 Stück auf unterschiedlichen Papierarten) Privatbesitz, Wien Otto Kallir, Egon Schiele. Das Druckgraphische Werk, Wien 1970, WV-Nr. 6b, S. 114-115; Jane Kallir, Egon Schiele. The Complete Works. New York 1998, WV-Nr. 6b1, S. 648 Egon Schiele Squatting Woman, 1914 dry-needle etching on Japan paper, unframed, 56.7 x 40.8 cm (sheet size), 47.8 x 31.5 cm (picture size)edition by Avalun-Verlag, 1919 from an edition of 50 copies on Japanese paper (total edition of 200 copies on various types of paper) private property, Vienna Otto Kallir, Egon Schiele. Das Druckgraphische Werk, Vienna 1970, cat.-no. 6b, p. 114-115; Jane Kallir, Egon Schiele. The Complete Works. New York 1998, cat.-no. 6b1, p. 648
Los 1317
Pablo Picasso* "Minotaure caressant une Femme", aus "La Suite Vollard", 1933 Radierung auf Bütten von Montval, ungerahmt, 29,2 x 36,2 cm (Plattengröße), 34,4 x 44,3 cm (Blattmaß) Handsigniert rechts unten: Picasso Bezeichnet und datiert rechts unten in der Platte (spiegelverkehrt): Paris 18 Mai XXXIII Wasserzeichen Picasso am linken Blattrand Edition von 260 Stück, herausgegeben von Ambroise Vollard, Paris, 1939 (Wasserzeichen linke untere Ecke) Privatbesitz, England Georges Bloch, Pablo Picasso. Band I, Katalog des graphischen Werkes 1904-1967, Bern 1984, WV-Nr. 191, S. 68 (mit Abb.) Pablo Picasso* "Minotaure caressant une Femme", from "La Suite Vollard", 1933 etching on laid paper, unframed, 29.2 x 36.2 cm (plate size), 34.4 x 44.3 cm (sheet size)handwritten signature on the lower right: Picasso inscribed and dated on the lower right in the plate (mirror-inverted): Paris 18 Mai XXXIII Picasso watermark on the left edition of 260 pieces, published by Ambroise Vollard, Paris, 1939 (watermark lower left corner) private property, England Georges Bloch, Pablo Picasso. vol. I, Katalog des graphischen Werkes 1904-1967, Bern 1984, cat.-no. 191, p. 68 (with ill.)
Los 133
Rembrandt Harmensz. van Rijn Die Kreuzabnahme bei Fackelschein, 1654 Radierung und Kaltnadel, ungerahmt, 20,9 x 16,2 cm Signiert und datiert „Rembrandt f 1654“ (das „a“ der Signatur seitenverkehrt“); bis zur Darstellung beschnitten, eine leichte Kratzspur über die rechte obere Ecke; ohne Wasserzeichen, die Drahtlinien im Papier horizontal zur Darstellung österreichische Privatsammlung Bartsch 3; Seydlitz 83; Rovinsky 269; Biörklund-Barnard 54-G; New Hollstein 286, III (von IV) Ein guter Druck des dritten von insgesamt vier Zuständen. „Rembrandt verlegt das Geschehen in die Nacht und läßt zugleich das Thema der Grablegung anklingen. Der horizontal liegende tote Christus korrespondiert mit dem ausgebreiteten weißen Bahrtuch, das den zweiten, formal wie inhaltlich wichtigen akzent in die Darstellung setzt“ (Erwin Mitsch, in: Katalog „Rembrandt / Radierungen aus dem Besitz der Albertina“, 1971, Seite 141). Rembrandt Harmensz. van Rijn Deposition from the cross in the torchlight, 1654 etching and drypoint, unframed, 20.9 x 16.2 cmsigned and dated „Rembrandt f 1654“ (the„a“ of the signature inverted); trimmed, scratch above the upper right edge; without watermark, wire lines of the paper horizontal to the depicted scene private collection, Austria Bartsch 3; Seydlitz 83; Rovinsky 269; Biörklund-Barnard 54-G; New Hollstein 286, III (of IV) Third out of four conditions. „Rembrandt verlegt das Geschehen in die Nacht and läßt zugleich das Thema der Grablegung anklingen. der horizontal liegende tote Christus korrespondiert mit dem ausgebreiteten weißen Bahrtuch, das den zweiten, formal wie inhaltlich wichtigen Akzent in die Repräsentation setzt“ (Erwin Mitsch, in: catalaogue „Rembrandt / Radierungen aus dem Besitz the Albertina“, 1971, p. 141).
Los 670
Hinterglasbild, Anfang 19. Jh. Radierung in Goldfolie, schwarz hintermalt, Unterlage schwarzes Papier; geschäftiges Treiben auf dem Markt; links unten signiert: "J. Butterwort Etch."; gerahmt, 10,5 x 38,8 cm (ohne Rahmen) Reverse glass painting, early 19th century etching in gold leaf; signed on the lower left: "J. Butterwort Etch."; framed, 10.5 x 38.8 cm (without frame)
Los 10
James Ensor (1860-1949)Le Jardin d'Amour (Minnetuin) (Cramer, Delteil, Elesh, Taevernier 61) Etching with extensive hand-colouring in watercolour and gouache, 1888, on simili-japan paper, signed in pencil, countersigned in pencil verso, an impression of the third and final state, with margins, with time, mount and light-staining, the colours slightly attenuated but still good, framedPlate 117 x 80mm. (4 5/8 x 3 1/8in.); Sheet 226 x 156mm. (8 7/8 x 6 1/8in.)For further information on this lot please visit Bonhams.com
Los 11
James Ensor (1860-1949)Prise d'une Ville Étrange (Cramer, Delteil, Elesh, Taevernier 33) Etching, 1888, on simili-japan paper, bearing signature in pencil, an impression of the fourth and final state, with margins, with pale time and mount staining, in good condition, framedPlate 173 x 233mm. (6 7/8 x 9 1/4in.); Sheet 227 x 320mm. (8 7/8in. x 12 5/8in.)For further information on this lot please visit Bonhams.com
Los 20
Christopher Richard Wynne Nevinson A.R.A (1889-1946)Banking at 4,000 Feet (Black 20) Lithograph, 1917, on laid paper, signed, dated and numbered 65 in pencil, from the edition of 200, published by the Stationery Office, London, as part of the series Britain's Efforts and Ideals: Making Aircraft, with wide margins, in good condition, framedImage 402 x 315mm. (16 x 12 3/8in.);Sheet 510 x 398mm. (20 1/8 x 15 5/8in.)Footnotes:Christopher Richard Wynne Nevinson was one of the great printmakers of the early twentieth century and was held in high esteem as a chronicler of modern warfare and creator of modern urban landscapes. His mastery of techniques such as drypoint, etching, lithography and mezzotint, combined with an acute eye for detail and feeling for composition, enabled him to produce images which displayed great technical skill, whilst evoking a strong sense of place and emotion. His prints were often produced in conjunction with his paintings, allowing him to depict the subject from a different perspective. This collection is a cross-section spanning his printmaking career, from dramatic images produced to promote the war effort, to the quiet simplicity of his etchings of the rural British landscape and urban views of Paris, London and New York. Nevinson became an official war artist in 1917 and was commissioned by the Ministry of Information to create six lithographs on the theme of Building Aircraft to be included in the propaganda series The Great War: Britain's Efforts and Ideals. In Banking at 4,000 feet, Nevinson uses variations in tone and steep diagonals to convey the drama and exhilaration of flight and invites the viewer to share the experience of being in the air by placing them in the cockpit.For further information on this lot please visit Bonhams.com
Los 32
Christopher Richard Wynne Nevinson A.R.A (1889-1946)Leicester Square (Black 131) Etching, 1926-7, on handmade laid paper, a very good atmospheric impression, signed in pencil, the full sheet, in good condition, framedPlate 176 x 136mm. (6 7/8 x 5 3/8in.);Sheet 317 x 232mm. (12 1/2 x 9 1/8in.)Footnotes:Leicester Square is an atmospheric evening image where the lamplight, created through carefully selected wiped areas on the plate, highlights the darkly clad figures and draws the viewer into the scene.For further information on this lot please visit Bonhams.com
Los 33
Christopher Richard Wynne Nevinson A.R.A (1889-1946)Any London Street (Black 100) Etching, circa 1922, on F.J. Head & Co. laid paper, a good impression printed with plate-tone, signed in pencil, the full sheet, in good condition, framedPlate 138 x 174mm. (5 3/8 x 6 7/8in);Sheet 216 x 315mm. (8 1/2 x 12 3/8in.)For further information on this lot please visit Bonhams.com
Los 34
Christopher Richard Wynne Nevinson A.R.A (1889-1946)Bacchus (Black 133) Drypoint and etching printed in sanguine, 1926-7, on cream Arches laid paper, a very good impression of this rare subject, signed in pencil, with full margins on three sides and a wide upper margin, a few minor repairs and defects, generally in good condition, framedPlate 351 x 275mm. (13 7/8 x 10 3/4in.);Sheet 473 x 378mm. (18 5/8 x 14 7/8in.)Footnotes:This unusual work stands out in Nevinson's oeuvre as the only mythological subject he produced and one of only two works executed in sanguine. The subject can be seen as a reference to the dissolute behaviour of the country's youth in the 1920s. Britain experienced a period of euphoria as the country emerged from the hardships of the First World War, which led to some paranoia in government circles that this could lead to over-indulgence and a breakdown in morals. Hence the depiction of the Roman god of wine with naked nymphs. Nevinson has kept the sharp angular forms which he used in his Futurist war images, but there is a nod to Art Deco in the use of mythological figures and application of bold colour, indicating a change in direction in his work.For further information on this lot please visit Bonhams.com
Los 41
Pablo Picasso (1881-1973)Jeune Femme au Chapeau péchant par pensée, from 347 Series (Bloch 1551; Baer 1567.B.b) Etching, 1968, on wove paper, signed and numbered 24/50 in pencil, published by Galerie L. Leiris, Paris, the full sheet, in good conditionPlate 318 X 416mm. (12 1/2 x 16 3/8in.);Sheet 450 x 560mm. (17 3/4 x 22in.) 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
Los 42
Pablo Picasso (1881-1973)Autoportrait, avec Deux Femmes, from La chute d'Icare (Bloch 2016; Baer 2022 XIII B.b.; see Cramer books 155) Etching with drypoint, 1972, on wove paper, signed and numbered 22/125 in pencil (there were also 10 in Roman numerals plus 15 artist's proofs), published by Albert Skira, Geneva, as a frontispiece for Jean Leymarie La Chute d'Icare, the full sheet, in good condition, framedPlate 366 x 492mm. (14 3/8 x 19 3/8in.); Sheet 497 x 660mm. (19 5/8 x 26in.)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
Los 54
Joan Miró (1893-1983)One Plate, from Feuilles éparses (Dupin 120; Cramer Books 100) Etching and aquatint in colours, 1957, on BFK Rives wove paper, signed and numbered 38/50 in pencil, published by Louis Broder, Paris, the full sheet with a deckle edge at right and below, in good conditionPlate 208 x 173mm. (8 1/8 x 6 3/4in.); Sheet 380 x 280mm. (14 7/8 x 11 1/8in.)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
Los 55
Joan Miró (1893-1983)Astre et Fumée (Dupin 424) Etching, aquatint and carborundum in colours, 1967, on Mandeure rag paper, signed and numbered 16/75 in pencil, published by Maeght Editeur, Paris, the full sheet, in good condition, framedSheet 750 x 560mm. (29 1/2 x 22in.)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
Los 56
Joan Miró (1893-1983)Plate 1, from Quatre colors aparien el mon (Dupin 822) Etching and aquatint in colours with embossing, 1975, on Arches wove paper, signed and inscribed 'HC' in pencil, an hors commerce impression aside from the edition of 50, published by Gustavo Gili, Barcelona, the full sheet with a deckle edge at left and right, authenticated by Rosa Maria Malet in pencil verso, Fundació Joan Miró, Barcelona, some creasing, otherwise in good condition Sheet 895 x 635mm. (35 1/2 x 25 in.) 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
Los 57
Joan Miró (1893-1983)Plate 5, from Quatre colors aparien el mon (Dupin 826) Etching and aquatint in colours with embossing, 1975, on Arches wove paper, signed and numbered 22/50 (there were also 15 hors commerce and 3 artist's proofs), published by Gustavo Gili, Barcelona, with margins, in good conditionSheet 887 x 618mm. (35 x 24 1/2in.)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
Los 6
Rembrandt Harmensz van Rijn (1606-1669)The Angel departing from the Family of Tobias (Bartsch 43; New Hollstein 189) Etching, 1641, on laid paper, a very good impression of New Hollstein's eighth state (of nine), still printing clearly and with contrasts, with small margins, in good conditionPlate 103 x 154mm. (4 x 6 1/8in.);Sheet 111 x 157mm. (4 3/8 x 6 1/8in.)For further information on this lot please visit Bonhams.com
Los 67
Joan Miró (1893-1983)Mousse dans les cordages, from People of the Sea (Dupin 1286) Etching, aquatint and carborundum in colours, 1990, on Rives wove paper, with stamped signature, numbered 18/60 in pencil, printed by Morsang, published by Daniel Lelong, Paris, authenticated and signed in pencil by Emilio Miró verso, the full sheet with a deckle edge below, in good condition, framedImage 695 x 435mm. (27 3/8 x 17 1/8in.); Sheet 960 x 750mm. (37 3/4 x 29 1/2in.)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
Los 79
Lucian Freud (1922-2011)Girl holding her foot (Hartley 25) Etching, 1985, on Somerset Satin White paper, signed with initials and numbered 9/50 in pencil, printed at Palm Tree Studios, co-published by James Kirkman, London, and Brook Alexander, New York, the full sheet, in very good condition, framedPlate 690 x 540mm. (27 1/8 x 21 1/4in.); Sheet 885 x 720mm. (34 7/8 x 28 3/8in.)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
Los 8
Rembrandt Harmensz van Rijn (1606-1669)Sheet of Studies: Head of the Artist, a Beggar Couple, Heads of an Old Man and Old Woman (Bartsch 363; New Hollstein 115) Etching, 1632, on laid paper, without watermark, a very good impression of New Hollstein's second, final state, with thread margins, in good condition, framedPlate 100 x 105mm. (3 3/4 x 4 1/8in.); Sheet 102 x 107mm. (4 x 4 2/8in.)Footnotes:ProvenanceThe Fine Art Society, London, February 1942 (their label on the back of the frame).Rembrandt is known for his insightful and expressive portrayals of the human character and his fondness for experimentation. He produced 32 self-portrait etchings and over 30 studies of men and women during his career. The studies were not portraits of particular people, but rather 'types' observed and recorded by the artist to practise a range of facial expressions and the interaction between figures. Thus we see several images produced on one plate, reminiscent of a sketchbook page, which has been rotated three times to accommodate a self-portrait, a beggar couple and the heads of an elderly man and woman. Rembrandt crops his figures tightly to concentrate on the portrayal of the expressions. This etching was produced a year after Rembrandt had moved to Amsterdam and was establishing his reputation. He was adept at depicting his own features, having practised his expressions in front of a mirror and was familiar with the use of chiaroscuro to achieve psychological depth. The direct gaze towards the viewer displays his growing confidence in his ability and a wish to connect with his audience.For further information on this lot please visit Bonhams.com
Los 81
David Hockney (born 1937)Rue de Seine (Scottish Art Council 121; M.C.A. Tokyo 111) Etching and aquatint, 1971, on J. Green mould-made paper, signed, dated and numbered 16/150 in pencil (there were also sixty proofs), published by Petersburg Press, London, the full sheet, some pinpoint fox spots principally to the margins, in good condition, framedImage 530 x 435mm. (20 7/8 x 17 1/8in.); Sheet 885 x 711mm. (34 3/4 x 28in.)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
Los 82
David Hockney (born 1937)Marguerites (M.C.A. Tokyo 141) Etching, softground etching and aquatint in colours, 1973, on Arches wove paper, signed, dated and numbered 85/100 in pencil, printed by Atelier Crommelynk, Paris, published by Petersburg Press, London and New York, with the artist's copyright blindstamp, with wide margins, with pale light-staining at the sheet edges, the pink slightly attenuated, otherwise in good conditionPlate 235 x 175mm. (9 1/4 x 6 7/8in.);Sheet 399 x 302mm. (15 3/4 x 11 7/8in.)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
Los 9
Rembrandt Harmensz van Rijn (1606-1669)Jan Lutma, Goldsmith (Bartsch 276; New Hollstein 293) Etching, engraving and drypoint, 1656, on laid paper, without a watermark, the fourth state (of five), with narrow margins, in good condition Plate 196 x 150mm. (7 3/4 x 5 7/8in.);Sheet 200 x 151mm. (7 7/8 x 6in.)Footnotes:ProvenanceWilhelm Drugulin (1825-1879), Leipzig (Lugt 2613).For further information on this lot please visit Bonhams.com
Los 97
Jim Dine (born 1935)The Hand-Coloured Viennese Hearts II and III (Carpenter 34.2 and 34.3) Screenprints with soft-ground etching, aquatint and hand-colouring, 1990, on wove paper, each signed, dated and numbered 28/40 in pencil (there were also some proofs for each print), printed by Advanced Graphics, London and Werkstatt fur Handgedruckte Original-Graphik, Vienna, published by Pace Prints, New York, the full sheets, in very good condition, framed Plates 864 x 787mm. (34 x 31in.)(and smaller); Sheets 1194 x 921mm. (47 x 36 1/4in.)(2)Footnotes:ProvenanceWaddington Graphics in partnership with Pace Prints, Jim Dine: The Hand-Coloured Viennese Hearts 1987-90, London, 25 April - 19 May 1990; where acquired by the current owners.For further information on this lot please visit Bonhams.com
Los 475
Quantity of eight assorted military-related prints, one the Queens Lifeguard after Christine Bousfield with 1987 presentation label to Captain RCD Lendrum, another The Trumpet Polka, composed and dedicated to Lieut. Co. Bouverie and the officers of The Royal Regiment of Horse Guards, five others of continental uniforms published by T. Goddard, and one other etching of Horse Guards Whitehall.32cm x 44cm
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78472 Los(e)/Seite