Stanley William Hayter (British, 1901-1988)Woman in a Net (Black & Moorhead 81) Engraving, scorper and soft-ground etching, 1934, on wove, signed, titled, dated, and numbered 22/30 in pencil, printed and published by the artist at Atelier 17, Paris, with wide margins, 215 x 290mm (8 1/2 x 11 3/8in)(PL)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
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Jim Dine (American, born 1935)The Hand-Coloured Viennese Hearts V and VII (Carpenter 34.5 and 34.7) Screenprints with soft-ground etching, aquatint and hand-colouring, 1990, on wove, each signed, dated and numbered 28/40 in pencil (there were also some proofs for each print), printed by Advanced Graphics, London and Werkstatt für Handgedruckte Original-Graphik, Vienna, published by Pace Prints, New York, the full sheets, 876 x 737mm (34 1/2 x 29in)(and smaller)(PL); 1194 x 919mm (47 x 36 1/8in)(SH)(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
Stanley William Hayter (British, 1901-1988)Night and Day (Black & Moorhead 203) Engraving, soft-ground etching, scorper printed in colours, 1951-4, on BFK Rives, signed, titled, dated and numbered 18/50 in pencil, printed by Hayter at Atelier 17, Paris, with margins, 603 x 452mm (23 3/4 x 17 7/8in)(PL)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
James Gillray (British, 1756-1815)The Gout Etching with hand-colouring, 1799, on wove, from the Bohn edition, with a black and white etching 'French Taylor' on the reverse, published in 1851 by Henry Bohn, London, with margins, 260 x 355mm (10 1/4 x 14in)(PL)For further information on this lot please visit Bonhams.com
Stanley William Hayter (British, 1901-1988)Cinq Personnages (Black & Moorhead 168) Engraving, soft-ground etching, scorper and screenprint in colours, 1946, signed, titled, dated and inscribed '4th state colour trial' in pencil, a proof aside from the numbered edition of 50, printed by Hayter and Frederick Becker, with margins, 510 x 665mm (20 1/8 x 26 1/8in)(SH)(unframed) 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
Stanley William Hayter (British, 1901-1988)Icarus (Black & Moorhead 228) Engraving, soft-ground etching and scorper printed in colours, 1956, on BFK Rives, signed, titled, dated, and numbered 19/50 in pencil, printed by Hayter at Atelier 17, Paris, with margins, 340 x 245mm (13 3/8 x 9 5/8in)(PL)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
Samuel Palmer (British, 1805-1881)The Early Ploughman or The Morning Spread upon the Mountains (Lister 9) Etching, 1861, on wove, signed in pencil, probably the sixth state of eight, printed by A.H. Palmer in 1879, with his blindstamp, with wide margins, 178 x 252mm (7 x 10in)(PL); 334 x 502mm (13 1/8 x 19 3/4in)(SH)For further information on this lot please visit Bonhams.com
After René Magritte (Belgian, 1898-1967)La Leçon de musique (Kaplan 15D) Etching in colours, 1968, on Japon nacré, stamp-signed and inscribed 'H.C.' in pencil, one of 25 hors commerce impressions on this paper aside from the numbered edition of 150, printed and published by Editions Georges Visat, Paris, with the artist's estate blindstamp, the full sheet, 280 x 227mm (11 x 8 7/8in)(SH)For further information on this lot please visit Bonhams.com
Pablo Picasso (Spanish, 1881-1973)Les Pauvres, from 'La Suite des Saltimbanques' (Bloch 3; Baer 4.II.b.2) Etching, 1905, on Van Gelder Zonen wove, from the edition of 250 on this paper, printed by Louis Fort, published in 1913 by Amboise Vollard, Paris, with wide margins, 236 x 180mm (9 1/4 x 7 1/8in)(PL)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
Ed Ruscha (American, born 1937)Other (Gemini 2022) Lithograph printed in red, 2004, on German etching paper, signed, dated and numbered 114/250 in pencil, published by Gemini G.E.L., Los Angeles, with their blindstamps, the full sheet, 286 x 375mm (11 1/4 x 14 3/4in)(SH)For further information on this lot please visit Bonhams.com
Stanley William Hayter (British, 1901-1988)Combat Sousmarin (Black & Moorhead 233) Engraving and soft-ground etching printed in colours, 1957, on BFK Rives, signed, titled, dated and numbered 2/50 in pencil, the full sheet, 495 x 280mm (19 1/2 x 11in)(PL)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 (Spanish, 1881-1973)Le Saltimbanque au repos, from 'La Suite des Saltimbanques' (Bloch 10; Baer 12.b.2) Etching and drypoint, 1905, on van Gelder Zonen wove, from the edition of 250, printed by Louis Fort, published in 1913 by Ambroise Vollard, Paris, with wide margins, 120 x 85mm (4 3/4 x 3 3/8in)(PL)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
Dame Elisabeth Frink R.A. (British, 1930-1993)Marsh Harrier, from 'Birds of Prey' (Wiseman 111) Etching with aquatint printed in colours, 1975, on J.Green paper, signed and numbered 26/50 in pencil, printed at White Ink with their blindstamp, published by Leslie Waddington Prints Ltd., London, with full margins, 920 x 648mm (36 1/4 x 25 1/2in)(PL)For further information on this lot please visit Bonhams.com
Various ArtistsA small collection of Old Master and Modern Prints Hollar etching 'Bust of a Negress', 1645, 75 x 55mm, together with Piranesi etching 'The Pier with Chains' (R42), plate 16 from 'Carceri', fifth state, on heavy laid, with central vertical fold, 405 x 552mm (PL), anonymous etching 'Head Studies', after Durer Rhinocerus, after Jacques Callot one etching from 'Balli Sfessania', Cezanne etching 'Guillaume Pendu', Elyse Ashe Lord 'Musician', etching with hand colouring, signed and numbered 38/75 in pencil, 405 x 550mm (15 7/8 x 21 5/8in)(and smaller)(7)For further information on this lot please visit Bonhams.com
Samuel Palmer (British, 1805-1881)Opening the Fold or Early Morning (Lister 13) Etching, 1880, on laid, the fourth state of ten, with the remarque of harebells lower left, published by the Fine Art Society, London, with wide margins, 163 x 230mm (6 1/2 x 9 1/4in)(PL), 275 x 343mm (10 7/8 x 13 1/2in)(SH)For further information on this lot please visit Bonhams.com
After René Magritte (Belgian, 1898-1967)La Folie Almayer (Kaplan 18A) Etching in colours, 1968, on Rives, stamp-signed and numbered 47/150 in pencil (there was also an edition of 150 on Japon nacré), printed and published by Editions Georges Visat, Paris, with the artist's estate blindstamp, the full sheet, 280 x 222mm (11 x 8 3/4in)(SH)For further information on this lot please visit Bonhams.com
Stanley William Hayter (British, 1901-1988)Paysage Lunaire (Black & Moorhead 220) Engraving and soft-ground etching with scorper printed in colours, 1956, on BFK Rives, signed, titled, dated and numbered 9/50 in pencil, with margins, 370 x 285mm (14 1/2 x 11 1/4in)(PL)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
James Rosenquist (American, born 1933)Appearance, from 'The Glass Wishes' (Glenn 192) Drypoint-etching and aquatint printed in colours, 1981, on Somerset Satin, signed, titled, dated and numbered 55/59 in pencil, published by Gemini G.E.L., Los Angeles, with their blindstamps, with full margins, 851 x 673mm (33 1/2 x 26 1/2in)(SH)For further information on this lot please visit Bonhams.com
John Piper (British, 1903-1992)Late Summer Flowers (Levinson 419) Etching and aquatint printed in colours, 1989, on wove, signed and numbered 15/70 in pencil, printed by Kelpra Studio, London, published by Marlborough Fine Art, London, with full margins, 405 x 545mm (16 x 21 1/2in)(PL)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 (Spanish, 1881-1973)Femme au Turban, Vieux Gentilhomme, Borreau et Homme aux yeux fous, from 'Series 156' (Bloch 1878; Baer 1883.IV.Bb) Etching and aquatint, 1970, on Rives, with the artist's stamped signature as issued, numbered 43/50 in pencil, published by Galerie L.Leiris, Paris, 1978, with wide margins, 318 x 418mm (12 3/8 x 16 3/8in)(PL)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
James Gillray (British, 1756-1815)Tiddy-doll, the great French Gingerbread-Baker, drawing out a new Batch of Kings:- his Man Hopping Tally mixing up the Dough (BM 10518) Etching with hand-colouring, 1806, on wove, published by H. Humphrey, London, with margins, 255 x 380mm (10 x 14 3/4in)(PL)(unframed)For further information on this lot please visit Bonhams.com
Paul Signac (French, 1863-1935)Paris: Le Pont des Arts avec Remorqueuers (Kornfeld & Wick 24) Etching and aquatint, 1927, on wove, one of 250 impressions, printed and published by R. G. Michel, Paris, with margins, 125 x 190mm (4 7/8 x 7 1/2in)(PL)For further information on this lot please visit Bonhams.com
Henry Moore, R.A. (British, 1831-1895)One plate, from 'La Mysticité Charnelle de René Crevel' (Cramer 377) Etching and aquatint printed in tone, 1976, on wove, signed and numbered 60/100 in pencil, printed by Atelier Lacourière et Frélaut, Paris, published by Éditions Georges Visat, Paris, the full sheet, loose as issued on a double-page, 274 x 262mm (10 3/4 x 10 1/4in)(PL)(unframed)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
Eduardo Chillida (Spanish, 1924-2002)Homenaje a Octavio Paz (Koelen 83005) Etching, 1983, on Rives BFK, signed and numbered 9/50 in pencil (there were also eight artist's proofs), printed by Taller Hatz, San Sebastián, published by Galería Galart, Geneva, the full sheet, 535 x 755mm (21 x 29 3/4in)(SH)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
Rembrandt Harmensz. van Rijn (Dutch, 1606-1669)Christ Crucified Between the Two Thieves: An Oval Plate (Bartsch 79; New Hollstein 196) Etching, circa 1641, on laid paper, a later impression, 140 x 105mm (5 1/2 x 4 1/4in)(PL); together with a Goya etching and aquatint 'Si quebro el Cantaro', plate 25 from 'Los Caprichos' (H60), 1799, on wove, a later edition, 208 x 155mm (8 1/8 x 6 1/8in)(PL)(2)For further information on this lot please visit Bonhams.com
Rembrandt Harmensz. van Rijn (Dutch, 1606-1669)The Artist drawing from the Model (Bartsch 192; New Hollstein 176) Etching with drypoint and engraving, circa 1639, on laid, New Hollstein's third state of four, with thread margins, 235 x 187mm (9 1/4 x 7 3/8in)(PL)(unframed)For further information on this lot please visit Bonhams.com
Eduardo Chillida (Spanish, 1924-2002)Bikaina XV (Koelen 88001) Etching with aquatint, 1988, on Japanese paper, signed and numbered 'VII/X P.A.' in pencil, one of ten artist's proofs in Roman numerals aside from the edition of 50 (there were a further three artist's proofs), printed by Taller Hatz, San Sebastián, published by Galería Línea, Madrid, the full sheet, 570 x 350mm (22 3/8 x 13 3/4in)(SH) 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
Victor Pasmore R.A. (British, 1908-1998)The Space Within Etching and aquatint printed in colours, 1982, on wove, signed with the initials, dated and numbered 47/90 in pencil, printed by Vigna Antoniniana, Rome, co-published by 2RC Edizioni d'Arte, Rome and Marlborough Fine Art Ltd., London, with the printer's and publisher's blindstamp, with full margins, 1200 x 2497mm (47 1/4 x 98 1/4in)(SH)(unframed)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
* Daniell (William). An Elevated View of the New Docks & Warehouses now constructing on the Isle of Dogs near Limehouse for the reception & accommodation of Shipping in the West India Trade, representing the general appearance when finished, of that magnificent & truly national work, of which a great part, by the energy, spirit, & perseverance of the Directors appointed to superintend its execution, has been actually compleated in the short space of little more than two years from its commencement in Feby. 1800, insomuch that on the 27 of August 1802 the Thames was permitted to flow into the larger bason, which is 2600 feet in length containing an area of thirty acres; & two ships, the Henry Addington & Echo, being the first vessels admitted, were received amidst the shouts of an immense concourse of spectators assembled to behold a scene so highly interesting to every well-wisher to the prosperity & glory of his country. The Canal on the left, running parellel to the docks, is executing by the Corporation of London for the purpose of facilitating the navigation of the river, in affording an opportunity for Shipping to avoid its circuitous & dangerous course around the Isle of Dogs. A Work co-operating with the other in the same grand Object which is to give at once Activity & Security to the Commerce of the Metropolis, drawn, engraved and published by William Daniell, London, October 15th, 1802, soft-ground etching & aquatint with contemporary hand colouring, overall toning & minor spotting, 455 x 780 mm, together with: Brunswick Dock on the Thames at Blackwall. This noble bason was executed from the design & at the individual expense of John Perry Esq. & was chiefly intended for the accommodation & protection of the ships of the Honble. the East India Company. The whole excavation that contains about eight acres is divided into two parts (each having its distinct entrance) one of which is capable of receiving thirty of the largest East India ships, & the other an equal number of smaller vessels. This great & useful work was begun on the 2nd of March 1789 & the Dock was opened for the reception of Shipping on the 20th of Novr. 1790, drawn, engraved and published by William Daniell, London, October 20th, 1803, soft-ground etching & aquatint with contemporary hand colouring, overall toning & minor spotting, 455 x 780 mm, A View of the London Dock. This great national work, the primary object of which was to improve the port of London, besides affording extensive accommodation to shipping, provides equal security to the revenue & to commercial property. The space it occupies & enclosed by its boundary wall is upwards of forty-five acres. The Dock, containing twenty acres, is 1260 feet in length, & 960 in breadth, & three acres are covered by the entrance bason & locks. The Tobacco Warehouse at the east end of the Dock spreads over an area of four acres; beneath which, & consequently of the same extent are commodious vaults for the reception of Wine & Brandy, & the five stacks of Warehouses on the north side are objects no less striking from their magnitude & stability. The facility afforded to business by the spacious sheds & excellent Machinery, together with every requisite convenience, render this vast mercantile concern one of the most complete in respect to utility, as it is in appearance one of the noblest works of the kind in the World. This Dock, begun in June 1802, was opened for Shipping on the 29th of January 1805, & its expence, including the purchase of ground with a view to its future extension eastward, has been upwards of two millions sterling, drawn, engraved and published William Daniell, October 1st, 1808, soft-ground etching & aquatint with contemporary hand colouring, slight overall toning & minor spotting, 455 x 780 mm, A View of the East India Docks. The East India Docks are solely for the accommodation of Shipping employed by the English East India Company. They consist of two spacious basons; on the quays of the largest of which all the produce imported by the Company from the East is unloaded; & in the other all Vessels that are outward bound receive their cargoes. The dimensions of the former is 1410 feet in length, by 560 in breadth, & will contain eighty four Ships of eight hundred tons each; the latter is 780 feet in length, by 520 in breadth, & the depth of both is 26 feet: the whole superficial extent of water, including the entrance, being thirty acres & a half. The smaller bason is an enlargement of one formerly in the possession of Mr Perry, but the other was constructed by the East India Dock Company; & was begun in the month of August 1803 & Open'd in Augst. 1806. The East India Docks may be considered as placed at the eastern limits of the City of London. A chain of connected streets already extend to the Village of Blackwall, adjoining to which these great marine depots are situated. Many new streets are already begun in its vicinity, the whole plain is scattered with buildings, used either as Dwellings of Manufactories, & the several newly constructed roads leading to these & the West India Docks will doubtless at no distant period be the future chief streets of this part of the British Metropolis, drawn, engraved and published William Daniell, October 1st, 1808, soft-ground etching & aquatint with contemporary hand colouring, slight overall toning & minor spotting, 455 x 780 mm, each mounted, with matching frames, glazed, bearing the Armytage Clarke Gallery label to verso of eachQty: (4)NOTESTHE DAVID SMITH PRINT COLLECTION PART I CIVIL ENGINEERING, TRANSPORT & TOPOGRAPHICAL PANORAMAS Part of a fine set of six birds-eye views of London Docks produced by the English landscape artist William Daniell (1769–1837). The views show the new docks on the Thames, built from 1800 as part of a scheme to totally overhaul and modernise shipping in London. Trade imports, both domestic and foreign, dramatically increased over the 18th century and to accommodate this the docks of London needed to be expanded and upgraded. Architects and engineers bid to remodel the city’s docks, each of their designs featuring the latest technological developments.
* Gillray (James). Judge Thumb-or-Patent Sticks for Family Correction; Warranted Lawful!, W. Humphrey, Nov. 27th. 1782, uncoloured etching on laid, some spotting. slight staining and dust soiling, 350 x 250 mm, together with "Oh! that this too too solid flesh would melt, [1791] but a later impression by John Miller, London and William Blackwood, Edinburgh, [1824 - 27], etched caricature with contemporary hand colouring, slight mount staining, 210 x 240 mm, with Cruikshank (G. C.). The Wimbledon Hoax! or Waterloo Review!!! !!! June 18th 1816, etching with contemporary hand colouring, thread margins, old folds, 200 x 470 mm, plus Williams (Charles). Making a Compass at Sea - or the use of a Scotch Louse..., Thomas Tegg, circa 1815, etched caricature with bright contemporary hand colouring, one short closed tear affecting image, slight mount staining, 235 x 330 mm, with another four caricatures after Henry Alken and four others similar, various sizes and conditionQty: (12)NOTESThe first described item is an early Gillray caricature of Sir Francis Buller. Buller's conduct on the bench was often the subject of severe criticism, and he was accused of being very severe and prejudiced. He was the subject of controversy due to an alleged statement he made that "a husband could thrash his wife with impunity provided that he used a stick no bigger than his thumb" . This claim was widely circulated and led to Buller being caricatured as "Judge Thumb" and depicted carrying a bunch of 'rods'.
* Gillray (James). The Cabinetical-Balance. NB. The representation of, the astonishing strength & Influence of the Rays from the Rising-Sun, is taken from Sir Isaac Newtons Theory of Light, H. Humphrey, Feby. 16th. 1806, etched caricature with contemporary hand colouring, thread margins, slight toning, tipped on to later paper, 350 x 250 mm, mounted, framed and glazed, together with Rowlandson (Thomas). Dr Syntax Taking Possession of his Living, 1812, aquatint with contemporary hand colouring, slight staining, 120 x 190 mm, mounted, framed and glazed, with The Dance on Dun-Can, originally published in 'the Picturesque Beauties of Boswell', circa 1786 but later 19th-century impression, hand-coloured etching with explanatory text below image, 240 x 265 mm, mounted, framed and glazedQty: (3)NOTESThe first described caricature shows a pair of scales. Poised on the cross beam are Sidmouth and Ellenborough The former is depressing the balance with his foot whilst Ellenborough rides piggy-back on his shoulders. This lower scale contains the 'Broad-Bottomites' or New Opposition and the upper scale holds the 'No-Bottomites', the Foxites, or Old Opposition. Fox is the most prominent and is squeezed between Erskine and Grey with Moira, in a cocked hat and regimentals, stands stiffly behind. Fox and Grey have the revolutionary 'bonnets rouges' but do not wear them. The other bowl contains Grenville, one hand on his fat nephew Lord Temple and Windham waves his hat triumphantly. The scales are suspended above the curve of the globe on which Great Britain and Europe are mapped. On the distant horizon is a setting sun containing a royal crown through which the ghost of Pitt flies weeping. The setting sun's feeble rays are outshone by the heavy beams of the rising sun which are surmounted by the Prince of Wales's three feathers.
* Smith (John). The Honble. Dudley Woodbridg Esq. Director Genll. of ye Royal Assiento Company of England in Barbados, 1718, uncoloured half-length mezzotint on laid after G. Kneller, thread margins, slight marginal chipping, 335 x 250 mm, together with Dawe (H.). To Charles Kemble Esqre. This print of his Sister Mrs. Siddons as the Tragic Muse is most respectfully dedicated..., James Bulcock, 1st. January 1827, uncoloured mezzotint on wove after Sir Joshua Reynolds, slight spotting, 450 x 310 mm, with Dickinson (William). Richard Grenville Temple Earl Temple Viscount and Baron Cobham..., Wm. Dickinson, 1778, uncoloured mezzotint on laid after Sir Joshua Reynolds, slight creasing, lower right corner crudely strengthened on verso, torn with slight loss to the upper right corner, 510 x 360 mm, with another two mezzotints similar, plus 16 engravings of etching of classical and genre scenes, religion, portraits, marine and topographical scenes, with examples by or after Bartolozzi, Jowett, Bunbury, Agar and Porter, mostly large format, various sizes and conditionQty: (21)
Lorraine Bampton; pastel portrait of John Lennon, 83 x 58cm, framed and glazed and an unframed pastel of an interior scene, an etching of a map of Liverpool, 'River Mersey at High Water', a signed limited edition print by T Colyer, no3/50 and a quantity of promotional posters for 'Justice' (5).
AFTER PETER SCOTT "Courtship in Loch Ness", colour print, limited edition No'd. 33/500, signed in pencil, 22 cm x 25.5 cm, AFTER RICHARD DOWNER "Marjoram Olive Glade", monochrome etching, limited edition No'd. 4/7, numbered, titled, signed and dated '78 lower right, 43 cm x 61 cm, together with another by the same hand "The Stafford from Blue Ball Yard", black and white etching, artist's proof, titled, signed and dated July 1979 to mount, 43 cm x 25 cm and another work in monochrome, terracotta and gold, indistinctly signed and dated 2008 lower right, 23 cm x 23 cm
Lots 284-299PROPERTY FROM THE COLLECTION OF BRYAN STEELE - PART VI Herbert Thomas Dicksee RE (1862-1842) A fox terrier puporiginal etching on vellum, signed artist’s proof, edition of 325, no other state, published by Frost & Reed, c.1926plate 25.5 x 20cmProvenance: the Bryan Steele Collection.
Herbert Thomas Dicksee RE (1862-1942)‘The Happy Mother’ (Bloodhound with her litter of seven pups) original etching on vellum, signed artist’s proof, published by the Fine Art Society, London (and Boussod Valadon & Co., New York) 1895, with blindstamp, remarque of a dog collar, image 33 x 63.5cmProvenance: The Bryan Steele Collection.Exhibited: Royal Academy,1895, no. 1295.
Herbert Thomas Dicksee RE (1862-1942) 'Oh! For the Touch of a Vanished Hand and the Sound of a Voice That is Still’ - Tennyson, ‘In Memoriam’ (Irish Wolfhound guarding an empty glove)original etching on vellum (after his oil painting, RA exhibit 1892, number 987)signed artist’s proof, published by the Fine Art Society, London (and Boussod Valadon & Co., New York) 1893, with blind-stamp, remarque of a stag’s head image 32.5 x 63.5cmProvenance: the Bryan Steele Collection.Exhibited: Royal Academy, 1893, no. 1468.
Herbert Thomas Dicksee RE (1862-1942)‘My Lady Sleeps’ (Young Girl Asleep by Her Mastiff)original etching on vellum, signed artist’s proof, edition of 300, no other state, plate destroyed, published by Frost & Reed, 1905, with blindstampimage 24.2 x 49.5cmProvenance: the Bryan Steele Collection.The sitter was the artist’s daughter, Dorothy.Condition report: See images.Some slight time stainging otherwise in good order. Unexamined out of frame.
Herbert Thomas Dicksee RE (1862-1942) ‘'A British Bulldog' original drypoint etching on vellum, signed artist’s proof, edition of 300, no other state, plate destroyed, published by Frost & Reed, 1913, with blindstamp, circular image 37cm diameterplate 42.5 x 41.3cmProvenance: From artist’s grandson;the Bryan Steele Collection.
Herbert Thomas Dicksee RE (1862-1942)‘A Cocker Spaniel’ (head portrait, full-face)original etching on paper, signed artist’s proof, edition of 200, this one ‘23/200’, no other state, published by Frost & Reed c.1933, with blindstampplate 32.5 x 24cmProvenance: From the artist’s grandson;the Bryan Steele Collection.
Herbert Thomas Dicksee RE (1862-1942) ‘Alsatians’ original etching on paper, signed artist’s proof, edition of 250, no other state, published by Frost & Reed, 1930, with blindstamp plate 31 x 41.5cmProvenance: From the artist’s grandson;the Bryan Steele Collection.Exhibited: Royal Academy 1926, no.1064.
Herbert Thomas Dicksee RE (1862-1942)Two tigers by a lake, one drinkingoriginal printer’s proof etching on paper, signed by the artist, not published, signed and dated ‘HD 1930’ within image, l.r. plate 21.4 x 40cmProvenance: The Bryan Steele Collection.Condition report: See images.Some slight time staining, otherwise in good order, unexamined out of frame.
Herbert Thomas Dicksee RE (1862-1942)'In the Reeds' (Tiger)original etching on paper, signed artist’s proof, edition of 100, no other state, published by Frost & Reed, 1928plate 21 x 38.8cmProvenance: From the artist’s grandson;the Bryan Steele Collection.Condition report: See images.In generally good condition, unexamined out of frame.
Herbert Thomas Dicksee RE (1862-1942)‘A Wanderer’ (lion walking across a desolate landscape)original etching on vellum, signed artist’s proof, edition of 200, no other state, published by C E Clifford & Co., London, 1890, with blindstampimage 30 x 45.7cmProvenance: The Bryan Steele Collection.Exhibited: Royal Academy 1889, no. 1724;World’s Colombian Commission International Exhibition, Chicago 1893 (Special Merit Medal).
Herbert Thomas Dicksee RE (1862-1942)‘His Majesty’ (study of a lion's head full face) original etching on Japan paper, signed artist’s proof, remarque of a fly (lower left margin), edition of this state limited to 25 therefore very rare, published by C E Clifford & Co., London, 1888image 59.7 x 47.6cmProvenance: From the artist’s grandson; the Bryan Steele Collection.Exhibited: Royal Academy 1888, no.1595;World’s Columbian Commission International Exhibition, Chicago 1893.
Herbert Thomas Dicksee RE (1862-1942)'Study of a Lion'original etching on vellum, signed artist’s proof, edition of 150, no other state, published by Frost & Reed, 1915image 19 x 49cmProvenance: the Bryan Steele Collection.Exhibited: Royal Academy 1915, no. 293.Condition report: See images.Some rippling to the upper edge of the paper, otherwise in good order. Unexamined out of frame.

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78472 Los(e)/Seite