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

George Huardel-Bly (19th Century) Beach view with distant pier and figures dotted about the beach, etching, framed and mounted under glass, 24 x 32 cm (framed)

Joseph Simpson (1879-1939, official Royal Flying Corps War artist) The Highlander, head and shoulders portrait of a seasoned Highland regiment piper in feather bonnet, drypoint etching, pencil-signed to the lower margin, 65 of 75, in broad card mount and slender ebonized frame under glass, 20 cm x 16 cm impression size, 57 cm x 42 cm framed

AUDUBON, John James (1785-1851).Common Cormorant (Plate CCLXVI)Phalacrocorax CarboEngraving with etching, aquatint and hand-coloring, 1838, on J Whatman Turkey paper watermarked 1835, sheet 25 1/2 x 38 1/4 in. (646 x 974 mm). Thin layer of old adhesive verso, a few short marginal tears, some toning from old framing. Low p.124.  Property from the Collection of Brigid McClainFor condition inquiries please contact Gretchen Hause at gretchenhause@hindmanauctions.com

AUDUBON, John James (1785-1851).Florida Cormorant...View Florida Keys (Plate CCLII)Carbo FloridanusEngraving with etching, aquatint and hand-coloring, on J Whatman paper watermarked 1834, sheet 25 3/4 x 38 3/4 in. (657 x 985 mm). 6-in. L-shaped tear to upper margin repaired not affecting image, a few very short marginal tears, some minor marginal toning from old framing, matted and framed.  Low p.119 (Variant 1).  Property from a Corporate Art CollectionFor condition inquiries please contact Gretchen Hause at gretchenhause@hindmanauctions.com

AUDUBON, John James (1785-1851).American Crossbill (Plate CXCVII)Loxia curvirostra  Engraving with etching, aquatint and hand-coloring, 1838, on J Whatman Turkey Mill paper watermarked 1834, sheet 38 x 25 1/2 in. (968 x 648 mm). A few short tears to edges, small loss to upper right corner, some very pale mostly marginal soiling, outer margin slightly toned from old matting, matted and framed. Low p.101 (Variant 1).  Property from a Corporate Art CollectionFor condition inquiries please contact Gretchen Hause at gretchenhause@hindmanauctions.com

[BOOKS ABOUT BOOKS]. ADLER, Elmer (1884-1962) and WINTERICH, John T. (1891-1970), editors. The Colophon. A Book Collectors' Quarterly. Vols. 1-18, 20. New York: The Colophon Ltd., Pynson Printers, 1930-1935.  19 volumes, including duplicate numbers of Vols. 2, 4, 6, 7, 8, 10, 11 and 15. Together 27 volumes, 4to. Original printed boards (slight toning and soiling, light rubbing to extremities); several vols. with original glassines (some tearing with loss). Publisher 's ephemera laid in.    FIRST EDITIONS, a nearly complete run of the periodical lacking only vol.19, including the often lacking color drypoint etching entitled "Hilltop" SIGNED BY DAVID B. MILNE in pencil lower margin in vol.V and the color woodcut print "An Eagle Ceremony at Tesuque Pueblo" by Gustave Baumann in vol.XII.    [With:]  The Colophon. New Series. Vol.I Nos.1-4, Vol.III no.2. New York: Pynson Printers, 1935-1936, 1938. 5 volumes, including duplicate numbers of Vol.I nos. 3-4 and Vol.III no. 2. Together 8 volumes, 8vo. Original publisher 's printed boards or cloth; original glassine to one vol. (tearing with loss). FIRST EDITIONS. -- The Annual of Bookmaking 1927-1937. New York: Pynson Printers, 1938. 4to. Original publisher 's cloth stamped in silver and black (slight darkening to spine). FIRST EDITION. -- The Colophon. New Graphic Series. New York: Pynson Printers, 1940. Vol.I No.4. 4to. Original publisher 's cloth (slight toning to extremities). FIRST EDITIONS.For condition inquiries please contact Gretchen Hause at gretchenhause@hindmanauctions.com

FOLON, Jean-Michel (1934-2005). Affiches de Folon. Geneva: Alice Editions, 1978.  Folio. Original color etching in aquatint SIGNED AND NUMBERED BY FOLON in pencil lower margin 156/200. 25 reproductions of posters by Folon, loose as issued in original portfolio. Original printed cardboard wrappers with cloth ties (some light fraying to ties).  LIMITED EDITION, number 156 of 200 copies.  Property from the Collection of Michael and Kay MeletFor condition inquiries please contact Gretchen Hause at gretchenhause@hindmanauctions.com

GOREY, Edward (1925-2000). Insect on Unicycle. Zurich: Diogenes Verlag, 1978.Etching, on Arches paper, 14 x 11 3/4 in., SIGNED BY GOREY and numbered in pencil lower margin, 5/120. (Cloth tape from framing upper margin verso.)One of 6 etchings created by Gorey and distributed by Diogenes Verlag in 1975, each consisting of 120 Arabic numbered and 20 Roman numbered copies. Though the etchings were sold individually, they are considered a set. VERY RARE: according to online records, no complete set of all 6 etchings has ever sold at auction, and only one copy of this etching has ever sold at auction. See Goreyana Blogspot, 4 April 2011.  Property from the Collection of Thomas J. BarrettFor condition inquiries please contact Gretchen Hause at gretchenhause@hindmanauctions.com

GOREY, Edward (1925-2000). Child and Elephant Table. Zurich: Diogenes Verlag, 1978.  Etching, on Arches paper, 14 x 11 3/4 in., SIGNED BY GOREY and numbered in pencil lower margin, 5/120. (Small surface abrasions to margins verso, cloth tape from framing upper margin verso, small pale stain upper margin.) According to Rick Jones of the Edward Gorey House, the common title for this etching, "Baby seated Under Rolling Elephant," is incorrect. This correct title appears in the original Diogenes brochure for this set of prints. One of 6 etchings created by Gorey and distributed by Diogenes Verlag in 1975, each consisting of 120 Arabic numbered and 20 Roman numbered copies. Though the etchings were sold individually, they are considered a set. VERY RARE: according to online records, no complete set of all 6 etchings has ever sold at auction, and no copy of this etching has ever sold at auction. See Goreyana Blogspot, 4 April 2011.  Property from the Collection of Thomas J. BarrettFor condition inquiries please contact Gretchen Hause at gretchenhause@hindmanauctions.com

Signed, titled and numbered 30/160 in pencil in the margin, a two-plate etching.plate size 37.5cm x 25cm (14.75in x 9.75in)Condition report: The print is in very good, original condition with no obvious faults to report. The print is framed and glazed. There is a minor water stain running along the top edge of the mountboard and the frame has some minor scuffs and scratches.

1979, signed, titled and numbered 31/150 in pencil in the margin, published by Christie's Contemporary Art and printed by J.C. Editions on Arches paper, with both blindstamps, with full margins, etching and aquatint.sheet size 57.5cm x 76.5cm (22.5in x 30in)Footnote: Artists’ Resale Right (“droit de suite”) may apply to this lot.Condition report: The print is in good, original condition with strong colours and no obvious faults to report. The print has been laid down. There is some very light time staining and browning around the edges of the sheet. The print is framed and glazed.

Miscellaneous Lot comprising Victorian cased set of draughtsman's brass instruments, Hallina camera in case, signed etching by Martin Bradier, and a cased, 1930s, Selfridges feather hat (4)

ALLSOP Portrait head, signed, oil on board, 35 x 22cm and a roundel, watercolour, 24cm diameter and an etching (3) Condition Report: Available upon request

JAPANESE SCHOOL Two ladies making miniature gardens, print, 32 x 22cm D Y CAMERON Amboise, signed, etching, 28 x 16cm (2) Condition Report: Available upon request

ALAN ANDERSON Stormy Evening Iona, oil on board, 24 x 40cm and an etching (2) Condition Report: Available upon request

RICHARD DEMARCO Arran and another, signed, print and an etching (3) Condition Report: Available upon request

DE HERAIN Le Chamulier, signed, etching, 44/75, 19 x 14cm and another (2) Condition Report: Available upon request

Cupid with Bow and Arrow, Standing on a Dolphin, etching

Hilary Hanley, Vineyard, Umbria, Etching 2/20, 27 x 32cm

ROSANNA MAHONEY (CONTEMPORARY) - 'Poppy Field', etching, signed in pencil and numbered 96/120, framed, 31cm x 39cm, frame size 49.5cm x 58cm, also another etching by Kenneth Holmes and three others. (5)

ERNEST HEBER THOMPSON (1891-1971) - Two ballerinas exercising, etching, signed in the plate, framed, 28cm x 20cm, frame size 46.5cm x 37cm, with other etchings by the same hand to include A ballerina en pointe before a mirror, etching, signed in the plate, framed, 21cm x 29cm, frame size 46cm x 37cm, another depicting Two Ballerinas, and A young woman drinking from a flask, etching, signed in the plate, framed, 36cm x 17cm, frame size 54cm x 34cm.

A pair of 19th century stipple engravings of children with a cat, in black glass mounts, a pair of oval prints of children, a set of four 19th century coloured hunting prints, in gilt frames, Major E F Humphreys: a signed etching of Barnstaple bridge, 5" x 9 1/2", a pair of coloured engravings of Bideford and Barnstaple, two other engravings, views of Charlton Park and Carlisle Castle, H Young: a modern watercolour, still life of fruit, and four other framed pictures

Jan Dirksz. Both (Dutch/German, 1615-1652)'The Wooden Bridge' etching19 x 27cmProvenance: The Estate of Virginia Chapman, late of Debden Manor, Debden, Essex.

William Lionel Wyllie (1851-1931)Shipping off the coastetching, signed in pencil l.l.image 20.5 x 49cmCondition report: Some time staining and acid discolouration to the paper. Unexamined out of frame.

Antique hand tinted etching marked Breugel Nef De Bande entre deux Galleries, 40 x 30 cm. Not available for in-house P&P

HEDLEY FITTON RE (British 1859-1929), 'The shrine of Edward the Confessor Westminster (Abbey)', first state etching, signed in pencil by the artist, Rembrandt Gallery label verso. 37.5 x 47.5cm approx within the plate marks. Together with another 'Rue san Romain, Rouan', uncoloured first state etching, 43 x 27cm approx. (2)(B.P. 21% + VAT) In good original condition overall.

* Caricatures. A collection of 22 cartoons & caricatures, 18th & 19th century, etched, engraved and lithographic caricatures including Gillray (James). The Guardian Angel 1805 [but later], hand-coloured etching on laid, old folds, thread margins, lacking the H. Humphrey publication imprint and with an additional 'No 1' to the upper right margin, 370 x 265 mm, together with Corbutt (Philip). The Amorous Hollander, circa 1800, uncoloured mezzotint after Ostade, slight creasing, a few marginal closed tears, slight dust soiling, 355 x 255 mm, with Dawe (H.). The Black Draught, W. I. White, 1824, uncoloured mezzotint after M. W. Sharp, slight spotting and dust soiling, 340 x 260 mm, laid on later card, plus Blundell (H.). Life, its Ups and Downs by Alfred Crowquille, R. C. Lamb, circa 1840, uncoloured allegorical engraving after A. Crowquille, some creasing and staining, laid on card, 290 x 530 mm, mounted, with others similar including examples by or after John Kay, W. Hogarth, G. Cruikshank, John Doyle and Henry Bunbury, various sizes and conditionQty: (22)

* Hollar (Wenceslaus). Plan de Londres tel quil etoi avant L'Incendie de 1666, Gravé par Hollar, published Robt. Wilkinson circa 1816, uncoloured etching with the margins decorated with the coats of arms of city livery companies, title repeated in English within the image, 175 x 280 mm, mounted, framed and glazed, together with Capellae Regiae ac Collegiate St. Georgii in Castro de Windsore a meridie prospectus...., 1671, uncoloured etched prospect with a floor plan below the prospect, 295 x 360 mm, mounted, framed and glazed, with Capellae Collegij Regalis de Eton ab Aquilone Prospectus, 1672, uncoloured etching, 260 x 380 mm, mounted, framed and glazedQty: (3)

* Foreign Topographical Views. A collection of 38 prints and engravings, mostly 18th & 19th century, engraved and lithographic views including Marieschi (M.). Forum minus Diui Marci publieys oedificys utrinque insigne, Venice, [1741], uncoloured etching on laid, originally published in the series 'Manificentiores Selectioresque Urbis Venetiarum...,' trimmed to image but retaining the title, some worming affecting printed image, 310 x 470 mm, together with Needham (J.). Ancient temple on the Tukt-I-Suleman, Day & Son, 1858, lithograph after Mrs Clark with contemporary hand colouring, slight spotting, 320 x 420 mm, with Bluck (John). A View of the City of Montreal & The River St. Laurence from the Mountain, R. Ackermann, 1811 [but 20th-century restrike], hand-coloured aquatint after E, Walsh, mount stained, 430 x 560 mm, plus Vanderhecht (G.). Hôtel de Ville de Bruxelles, P. Degobert, circa 1845, uncoloured lithograph by and after Vanderhecht, 300 x 210 mm, tipped on to contemporary paper, with others similarQty: (38)

Folio Society. Travels into Several Remote Nations of the World by Lemuel Gulliver, by Jonathan Swift, 2011, 17 tipped-in colour illustrations by Peter Suart plus an original numbered monochrome etching signed in pencil, publishers original quarter vellum with illustrated boards in book box, folio, limited edition 822/1000Qty: (1)

* Etchings. A collection of 23 etchings, mostly 20th century, uncoloured etchings, including Detmold (Edward J. 1883 - 1957). State Elephant. Spirit of the East, etching, signed by the artist in pencil to the lower right, toned overall, 290 x 240 mm, together with Affleck (A. F.). Venice, The Ducal Palace & Edinburgh Castle, circa 1930, two etchings, both signed by the artist to the lower right below the image, both mount stained and toned overall, each approximately 255 x 470 mm, with Litton (Hedley, 1859 - 1929). Ecclesiastical Interior, etching, signed in pencil by the artist to lower right, slight mount staining, 450 x 305 mm, plus Hester (Wallace), Lancing from the East & Upper Quad Lancing, early 20th century, two etchings, signed and titled in pencil by the artist below image, each toned overall, each approximately 195 x 260 mm, mounted, with others similar, various sizes and conditionQty: (23)

Dodgson (Campbell). A Catalogue of Etchings by Augustus John 1901-1914, Charles Chenil and Co., Ltd., 1920, numerous monochrome illustrations, some light toning & spotting throughout, front gutters cracked, loose errata to the rear, publishers original quarter white cloth, boards & spine slightly marked & rubbed with minor loss to head & foot, large 4to, limited edition 134/325, includes Catalogue of OneHundred and Twenty-Five Etchings by Augustus E. John, The Chenil Gallery, 1919, black & white portrait frontispiece, some light spotting, publishers original wrappers, covers slightly spotted & rubbed, 8vo, together with; Carter (Charles [editor]), Etching and Dry Points from 1924 by James McBey (1883-1959), Aberdeen Art Gallery, 1962, numerous black & white illustrations, some minor toning, publishers original green cloth, spine lightly faded, large 8vo, and Kennedy (Edward G.), The Etched Work of Whistler, Alan Wofsy Fine Arts, San Francisco, 1978, numerous monochrome illustrations, original cloth in dust jacket, covers slightly rubbed to head & foot, large 8vo, plus 4 further volumes of etching & engraving reference, including Charles Meryon, catalogue raisonné of the etchings, by Loys Delteil & Harold J. L. Wright, Alan Wofsy Fine Arts, San Francisco, 1989, Catalogue of the Etchings of Joseph Pennell, by Louis A. Wuerth, Alan Wofsy Fine Arts, San Francisco, 1988, 8vo/4toQty: (7)

* Brussels. De Jode (Cornelis), Le Koert de Bruxelles, Antwerp, circa 1580, uncoloured etched view after Bartholomeus de Momper, trimmed to image and laid on later paper, slight loss to two corners, 410 x 515 mmQty: (1)NOTESA rare view of the palace of the Dukes of Burgundy at Coudenberg in Brussels, which Dürer described as one of the prettiest buildings in Europe. Sadly the building no longer exists as it was burned down in 1731. The etching shows the Aula Magna, or Throne Room, the Warande Park and surroundings, the Court of Nassau, parks and churches with a jousting contest in the foreground.

* Sporting etchings. Slocombe (Frederick), Salmon fishing, The Fine Art Society, March 1st, 1889, uncoloured etching on vellum, remarque to the lower right of a creel, gaff and brown trout, signed by the artist in pencil to lower left, slight marginal dust soiling, 415 x 595 mm, together with Whymper (Charles). Duck shooting, The Fine Art Society, Feby. 1st. 1886, uncoloured etching on faux-vellum, remarque to the lower right of a duck feather, signed by the artist in pencil to lower left, some marginal dust soiling and slight staining but not affecting image, 400 x 570 mm, mounted, with Kirk (Alex H.). The Angler, circa 1948, etching on wove, signed in pencil by the artist to the lower left, slight mount staining, 355 x 255 mm, plus Wilkinson (Henry). Trout Fishing, circa 1980, dry-point etching, printed in colours and finished by hand, limited edition 11/75, signed in pencil by the artist to lower left, 230 x 330 mm, and Birket Foster (Miles). Mother and Children in a Country Lane, The Fine Art Society, Feby. 2nd, 1891, uncoloured etching on faux-vellum, Print Sellers Association blind stamp to lower left and signed in pencil by the artist below image to lower left, slight marginal dust soiling, 565 x 400 mm, with another 6 etchings of portraits, sporting and genre subjects, various sizes and conditionQty: (11)

Pennell (Joseph). Etchers and Etchings, Chapters in the history of the arts together with technical explanations of modern artists, 1st edition, T. Fisher Unwin, 1920, 8 original unsigned etchings by Pennell, numerous reproductions, top edge gilt, remainder untrimmed, original publisher's brown morocco-backed boards gilt, rubbed and some marks, folio, limited signed edition 97/105, together with: Dodgson (Campbell). A Catalogue of Etchings by Augustus John 1901-1914, 1st edition, Charles Chenil and Co., Ltd., 1920, monochrome illustrations, top edge gilt, remainder untrimmed, original white cloth-backed boards gilt, rubbed and some soiling, large 4to, limited edition 129/325, plus others related on etching and print making, including Frank L. Emanuel, Etching and Etchings, 1930, Frank Rinder, Etchings of D.Y. Cameron and a Catalogue of His Etched Work, Otto Schulze, 1908 (2 copies), W. Shaw Burrow, A Book of British Etchings, 1926, John Buckland-Wright, Etchings and Engravings, Techniques and the Modern Trend, 1st edition, 1953 (ex-library copy), Roberto Sanesi, The Graphic Work of Ceri Richards, 1973, Clare Leighton, Wood-engraving and Woodcuts, Studio 'How To Do It' series, no. 2, reprinted 1944 (covers damp marked), etc.Qty: (17)

A framed and glazed etching of a young girl and a framed and glazed hand stitched textile. H.40 x 40cm

NUDE STUDY ETCHING BY VERTA SAYER

Sydney Long (Australian 1871-1955), 'Trees and cattle in a lakeland scene', a signed etching, 26.5 x 31.5cm, F H Ball, 'Young woman wearing a robe, in a wooded landscape' a signed pen and ink sketch, 34 x 34cm and a framed painted coat of arms, (3).

Robert R Greenhalf, 'View from the Down', a coloured etching, 18/50, 14.5 x 16cm, Mary Fenoughty 'Evening in Lombardy', coloured etching, 84/100, 41 x 37.5cm and one other engraving, (3).

A George III probably Irish conical rummel with swag wheel etching. Raised in a domed lemon squeezer base.13cm high. Together with a plain stemmed 18th century ale with folded foot(AF) and other 19th century glass waresProvenance: From The Sadia Walsh Collection

A James Alphege Brewer, St. Giles Cathedral, Edinburgh, signed etching and three other prints

Vatel (Charles). Notice Historique Sur La Salle Du Jeu De Paume, published L Bernard, 1883, hardback, marbled end boards, title page with etching frontispiece, some foxing, minor wear to spine Jeu de Paume was a ball and court game originating in France and an indoor precursor of tennis. Played in its infancy without racquets, which were eventually introduced, it is a former Olympic sport,  now known as real tennis, court tennis or courte paume.

Etching of a Jeu de Paume game in walled enclosure, with inscription, mounted and framed 32 by 26cm. Jeu de Paume was a ball and court game originating in France and an indoor precursor of tennis. Played in its infancy without racquets, which were eventually introduced, it is a former Olympic sport,  now known as real tennis, court tennis or courte paume.

AFTER GOYA 'Le Prisonnier' , etching, 9cm x 7cm Condition: foxing, paper creased, mounted in a glazed frame

JAMES MCBEY (1883-1959) Venice, dry point etching, signed and dated 1925 lower left, numbered XIII and signed in pen, 21.5cm x 26.5cm Condition: relatively poor condition due to foxing, unframed.

DAVID MUIRHEAD BONE (1876-1953) The Solent, etching, signed in pencil lower right, 17.5cm x 25m Condition: with minor foxing spots, surrounding paper with foxing and tears to the edges.

TWO BOXES OF PRINTS ETC, to include two Erik Drummond prints, signed and titled to the mounts, limited edition etching of Parrots in a cage, indistinctly signed, two etchings of figures in costume , indistinctly signed, four unsigned cartoon style paintings of a dentist, A 200, a beach scene and a surreal style still life, together with framed sheet music covers and topographical views etc

PAINTINGS AND PRINTS ETC, to include J.Wingate watercolour of barges on a continental river, framed, approximate size 34cm x 50cm, Erica Brooks mixed media study of houses, M.A.Muller pastel still life study of flowers in a vase, William Renison signed drypoint etching, indistinctly signed watercolours, limited edition prints by F.Prosperi, indistinctly signed etchings etc

* RICHARD "TURNERAMON" TURNER A.R.C.A (BRITISH 1940 - 2013), THE DAUGHTERS OF BABYLON oil on canvas, signed 102cm x 152cm Framed 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.

* JOHN BELLANY CBE RA HRSA (SCOTTISH 1942 - 2013), THE PRESENCE etching with aquatint, signed and numbered 27/50 in pencil 74cm x 55cm Unframed Note: From the Bellany Sextet

* JOHN BELLANY CBE RA HRSA (SCOTTISH 1942 - 2013), THE FRIGHT etching with aquatint, signed and numbered 27/50 in pencil 74cm x 55cm Unframed. Note: From the Bellany Sextet.

* JOHN BELLANY CBE RA HRSA (SCOTTISH 1942 - 2013), SAMSON AND DELILAH etching with aquatint, signed and numbered 27/50 in pencil 74cm x 55cm Unframed. Note: From the Bellany Sextet.

* ESTELLE THOMPSON (BRITISH b 1960), MOVING COLOUR III etching, signed, titled and dated '02 (edition of 15) 37cm x 26cm Framed and under glass Label verso: Abbott and Holder Ltd, 30 Museum Street, London. Note: Solo exhibitions include; Flowers Gallery, London (2016); Oriel Sycharth Gallery, Wrexham (2014); Purdy Hicks, London, (1989 - 2009); Wetterling Gallery, Stockholm, (2004); The New Gallery, Walsall (2001); Rosenberg and Kaufman Fine Art, New York (2001) and Angel Row Gallery, Nottingham (2000); Galerie Helmut Pabst, Frankfurt (1999); Fuse Paintings Usher Gallery, Lincoln; Mead Gallery, University of Warwick; South Hill Park, Bracknell (1997-98); Abbot Hall Art Gallery Kendal (1997); Galerie Helmut Pabst (1996); PHG touring to Winchester Gallery; Towner Art Gallery and Darlington Arts Centre (1993-94).

OLEG TSELKOV (RUSSIAN B. 1934)Demonstration, 1976 etching plate mark: 68.5 x 51 cm (27 x 20 in.) signed, dated and titled in plate lower right, signed lower right, inscribed with edition 83/100 lower left PROVENANCESDZY Soderberg Dzubinsky Gallery, New YorkEstate of the purchaserCONDITIONN.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.

OLEG TSELKOV (RUSSIAN B. 1934)Portrait of Two, 1976 etching 30 x 21 cm (12 x 8 1/4 in.) [plate] signed, dated and titled in plate lower right, signed lower right, inscribed with numeral II and edition 11/100 lower left PROVENANCESDZY Soderberg Dzubinsky Gallery, New YorkEstate of the purchaserCONDITIONObserved in frame, the work appears in excellent condition without any issues to report.N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.

PETER MILTON (B. 1930)Points of Departure II: Nijinsky Variations, 1996 resist ground etching and engraving on BFK Rives paper 60 x 95 cm (23 1/2 x 37 1/4 in.)[plate] 63.5 x 99 (25 x 39 in.)[full margin] signed, dated and inscribed with edition 36/175 lower right, series title center PROVENANCE Swann Auction Galleries, New York, 05 March 2009, lot 525 (label top right)Estate of the purchaserCONDITIONN.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.

A pair of Edwardian clear glass rummers with wheel etching and cable twist stems. 17cm high. Together with other 19th/20th century decorative and table glassware.

Rachel Anne Grigor, Blue Runner, coloured etching, signed and titled, mounted and framed, together with another titled 'A Mirror Dream', signed lower right and dated 1987, 75cm x 48cm (2)

Federica Galli - Fiume Dora, etching, signed by the artist, edition 69/70, 64 x 35cm

A topographical engraving of Bury St Edmunds; together with a Parisian street scene print; Paul Gilbert - Cornfield Poppies etched etching; and some unframed National Gallery prints