§ ELIZABETH BLACKADDER O.B.E., R.A., R.S.A., R.S.W., R.G.I., D.Litt (SCOTTISH B.1931) BLACK CAT ONEtching and aquatint, P/P, signed and editioned in pencil to margin, unframed (Dimensions: 50cm x 56cm (19.75in x 22in))Biography: Elizabeth Blackadder is well known for her images of cats, flowers and still lifes, but to see her as some comfortably predictable painter of the domestic scene would be a fundamental mistake, missing out on the ground breaking radicalism and intellectual acuity of an artist who is no less than a national treasure. Born in Falkirk, Blackadder studied at Edinburgh College of Art from 1949 to 1955 under Robert Philipson, William MacTaggart and William Gillies. Interestingly, as a student on the joint Fine Art course she was also taught art history by the esteemed art historian David Talbot Rice and this surely had an effect upon her development, specifically encouraging a growing interest in other cultures. A travelling scholarship in 1954 took her to Greece, Italy and Yugoslavia where she was influenced by Byzantine art and mosaics. On a further scholarship to Italy the following year she immersed herself in early Renaissance art but also looked at such contemporary artists as Morandi, whose extraordinarily spare still lifes would later be recalled in her own work. The drawings made on the early Italian journey also reveal the extraordinary talent for draughtsmanship which has continued to underpin her practice over the last sixty years. In 1956 Blackadder married the landscape painter John Houston and together they began to travel extensively, all the time increasing their shared visual vocabulary. As a developing artist, Blackadder was never averse to new ideas and in particular, despite the fact that she could never be described as an 'abstract artist', gained much from her understanding of the non-figurative revolution which swept through European and American painting in the late 1950s and 1960s. Having in the early 1960s worked extensively in landscapes which echo Gillies, by 1965 Blackadder was looking at new ways of approaching the still life, taking her cue from Redpath and the Edinburgh School but bringing to this her own unique vision which drew on sources as diverse as Mughal miniatures and colour-field abstraction. Through the 1980s and 90s, as she worked in different styles for each of her chosen genres, her botanical work became more intense and her landscapes ever simpler. At the same time, the still lifes adopted a yet more flattened appearance with no perspective whatsoever. The objects were always chosen with care: from popular toys and ornaments to Japanese and Indian prints, floating in their space, often surrounded by a shimmering aura, suggesting an individual presence and character.
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§ ELIZABETH BLACKADDER O.B.E., R.A., R.S.A., R.S.W., R.G.I., D.Litt (SCOTTISH B.1931) ORCHIDACEAEEtching and aquatint, H/C, signed and editioned in pencil to margin, unframed (Dimensions: 63.5cm x 51cm (25in x 20in), full sheet)Biography: Elizabeth Blackadder is well known for her images of cats, flowers and still lifes, but to see her as some comfortably predictable painter of the domestic scene would be a fundamental mistake, missing out on the ground breaking radicalism and intellectual acuity of an artist who is no less than a national treasure. Born in Falkirk, Blackadder studied at Edinburgh College of Art from 1949 to 1955 under Robert Philipson, William MacTaggart and William Gillies. Interestingly, as a student on the joint Fine Art course she was also taught art history by the esteemed art historian David Talbot Rice and this surely had an effect upon her development, specifically encouraging a growing interest in other cultures. A travelling scholarship in 1954 took her to Greece, Italy and Yugoslavia where she was influenced by Byzantine art and mosaics. On a further scholarship to Italy the following year she immersed herself in early Renaissance art but also looked at such contemporary artists as Morandi, whose extraordinarily spare still lifes would later be recalled in her own work. The drawings made on the early Italian journey also reveal the extraordinary talent for draughtsmanship which has continued to underpin her practice over the last sixty years. In 1956 Blackadder married the landscape painter John Houston and together they began to travel extensively, all the time increasing their shared visual vocabulary. As a developing artist, Blackadder was never averse to new ideas and in particular, despite the fact that she could never be described as an 'abstract artist', gained much from her understanding of the non-figurative revolution which swept through European and American painting in the late 1950s and 1960s. Having in the early 1960s worked extensively in landscapes which echo Gillies, by 1965 Blackadder was looking at new ways of approaching the still life, taking her cue from Redpath and the Edinburgh School but bringing to this her own unique vision which drew on sources as diverse as Mughal miniatures and colour-field abstraction. Through the 1980s and 90s, as she worked in different styles for each of her chosen genres, her botanical work became more intense and her landscapes ever simpler. At the same time, the still lifes adopted a yet more flattened appearance with no perspective whatsoever. The objects were always chosen with care: from popular toys and ornaments to Japanese and Indian prints, floating in their space, often surrounded by a shimmering aura, suggesting an individual presence and character.
§ PETER LASZLO PERI (HUNGARIAN/BRITISH 1899-1967) TWO FIGURESEtching and aquatint, 1950, signed and dated in pencil to margin, unframed, and another unframed etching by the same hand (Dimensions: 28cm x 42cm (11in x 16.5in), image size) (Qty: 2)Biography: Peri was born in Hungary in Budapest and although initially apprenticed as a bricklayer he became a student at the workshops for proletariat fine arts before going on to study architecture for two years. First moving to Paris, followed by Vienna and then Berlin, Peri had the first of two exhibitions with Moholy-Nagy, where he produced irregularly shaped wall reliefs. A radical and left wing thinker Peri was a member of the Association of Revolutionary Visual Artists of Germany and in 1933 Peri emigrated to England with his wife Mary Macnaughton. Once in England Peri was invited to produce a variety of sculptural work for London County Council including the Festival of London and Lambeth Borough. He is represented in museums worldwide including the Tate Gallery, MOMA, Centre Pompidou and the Arts Council. Alongside his sculptural work Peri produced a variety of highly regarded engraved work.
§ BARBARA RAE R.A., R.S.A., R.S.W. (SCOTTISH B.1943) IANO - AUTUMN, 1995Colour etching, A/P, signed, titled and editioned in pencil to margin (Dimensions: 60cm x 80cm (23.5in x 31.5in), full sheet)Biography: Barbara Rae is one of the most distinguished contemporary artists in Scotland. She attended Edinburgh College of Art from 1961 to 1965 and with a travel scholarship, travelled in France and Spain in 1966. In 1967, she had her first solo exhibit in Edinburgh. She lectured at Aberdeen College of Art from 1972 to 1974 and at Glasgow School of Art from 1975 to 1996. Her work has won many awards and recognitions including two Major Scottish Arts Council Awards, the Guthrie Medal, and the Royal Scottish Academy Sir William Gillies Travel Award. In 1983, Rae was elected President of the Society of Scottish Artists. She has had a long association with the Royal Academy and has been a member since 1992 and a Royal Academician since 1996. Rae's work has been exhibited all over the world and is held in many private collections. Rae's work is concerned with the passage of time and history. She "distils the presence of mankind," and often depicts subjects reflective of an area's history and culture. She spends weeks getting to know the surrounding area and people before beginning her artwork.
§ ELIZABETH BLACKADDER O.B.E., R.A., R.S.A., R.S.W., R.G.I., D.Litt (SCOTTISH B.1931) ORCHIDEtching, P/P, signed and editioned in pencil to margin (Dimensions: 37.5cm x 43cm (14.75in x 17in), plate size)Biography: Elizabeth Blackadder is well known for her images of cats, flowers and still lifes, but to see her as some comfortably predictable painter of the domestic scene would be a fundamental mistake, missing out on the ground breaking radicalism and intellectual acuity of an artist who is no less than a national treasure. Born in Falkirk, Blackadder studied at Edinburgh College of Art from 1949 to 1955 under Robert Philipson, William MacTaggart and William Gillies. Interestingly, as a student on the joint Fine Art course she was also taught art history by the esteemed art historian David Talbot Rice and this surely had an effect upon her development, specifically encouraging a growing interest in other cultures. A travelling scholarship in 1954 took her to Greece, Italy and Yugoslavia where she was influenced by Byzantine art and mosaics. On a further scholarship to Italy the following year she immersed herself in early Renaissance art but also looked at such contemporary artists as Morandi, whose extraordinarily spare still lifes would later be recalled in her own work. The drawings made on the early Italian journey also reveal the extraordinary talent for draughtsmanship which has continued to underpin her practice over the last sixty years. In 1956 Blackadder married the landscape painter John Houston and together they began to travel extensively, all the time increasing their shared visual vocabulary. As a developing artist, Blackadder was never averse to new ideas and in particular, despite the fact that she could never be described as an 'abstract artist', gained much from her understanding of the non-figurative revolution which swept through European and American painting in the late 1950s and 1960s. Having in the early 1960s worked extensively in landscapes which echo Gillies, by 1965 Blackadder was looking at new ways of approaching the still life, taking her cue from Redpath and the Edinburgh School but bringing to this her own unique vision which drew on sources as diverse as Mughal miniatures and colour-field abstraction. Through the 1980s and 90s, as she worked in different styles for each of her chosen genres, her botanical work became more intense and her landscapes ever simpler. At the same time, the still lifes adopted a yet more flattened appearance with no perspective whatsoever. The objects were always chosen with care: from popular toys and ornaments to Japanese and Indian prints, floating in their space, often surrounded by a shimmering aura, suggesting an individual presence and character.
§ ELIZABETH BACKADDER O.B.E., R.A., R.S.A., R.S.W., R.G.I., D.Litt (SCOTTISH B.1931) ORCHIDACEAEEtching and aquatint, A/P, signed and editioned in pencil to margin, titled in plate (Dimensions: 35.5cm x 30cm (14in x 11.75in))Biography: Elizabeth Blackadder is well known for her images of cats, flowers and still lifes, but to see her as some comfortably predictable painter of the domestic scene would be a fundamental mistake, missing out on the ground breaking radicalism and intellectual acuity of an artist who is no less than a national treasure. Born in Falkirk, Blackadder studied at Edinburgh College of Art from 1949 to 1955 under Robert Philipson, William MacTaggart and William Gillies. Interestingly, as a student on the joint Fine Art course she was also taught art history by the esteemed art historian David Talbot Rice and this surely had an effect upon her development, specifically encouraging a growing interest in other cultures. A travelling scholarship in 1954 took her to Greece, Italy and Yugoslavia where she was influenced by Byzantine art and mosaics. On a further scholarship to Italy the following year she immersed herself in early Renaissance art but also looked at such contemporary artists as Morandi, whose extraordinarily spare still lifes would later be recalled in her own work. The drawings made on the early Italian journey also reveal the extraordinary talent for draughtsmanship which has continued to underpin her practice over the last sixty years. In 1956 Blackadder married the landscape painter John Houston and together they began to travel extensively, all the time increasing their shared visual vocabulary. As a developing artist, Blackadder was never averse to new ideas and in particular, despite the fact that she could never be described as an 'abstract artist', gained much from her understanding of the non-figurative revolution which swept through European and American painting in the late 1950s and 1960s. Having in the early 1960s worked extensively in landscapes which echo Gillies, by 1965 Blackadder was looking at new ways of approaching the still life, taking her cue from Redpath and the Edinburgh School but bringing to this her own unique vision which drew on sources as diverse as Mughal miniatures and colour-field abstraction. Through the 1980s and 90s, as she worked in different styles for each of her chosen genres, her botanical work became more intense and her landscapes ever simpler. At the same time, the still lifes adopted a yet more flattened appearance with no perspective whatsoever. The objects were always chosen with care: from popular toys and ornaments to Japanese and Indian prints, floating in their space, often surrounded by a shimmering aura, suggesting an individual presence and character.
§ ELIZABETH BLACKADDER O.B.E., R.A., R.S.A., R.S.W., R.G.I., D.Litt (SCOTTISH B.1931)Etching and aquatint, A/P, signed and editioned in pencil to margin, titled in plate (Dimensions: 60cm x 45.5cm (23.5in x 18in), plate size)Biography: Elizabeth Blackadder is well known for her images of cats, flowers and still lifes, but to see her as some comfortably predictable painter of the domestic scene would be a fundamental mistake, missing out on the ground breaking radicalism and intellectual acuity of an artist who is no less than a national treasure. Born in Falkirk, Blackadder studied at Edinburgh College of Art from 1949 to 1955 under Robert Philipson, William MacTaggart and William Gillies. Interestingly, as a student on the joint Fine Art course she was also taught art history by the esteemed art historian David Talbot Rice and this surely had an effect upon her development, specifically encouraging a growing interest in other cultures. A travelling scholarship in 1954 took her to Greece, Italy and Yugoslavia where she was influenced by Byzantine art and mosaics. On a further scholarship to Italy the following year she immersed herself in early Renaissance art but also looked at such contemporary artists as Morandi, whose extraordinarily spare still lifes would later be recalled in her own work. The drawings made on the early Italian journey also reveal the extraordinary talent for draughtsmanship which has continued to underpin her practice over the last sixty years. In 1956 Blackadder married the landscape painter John Houston and together they began to travel extensively, all the time increasing their shared visual vocabulary. As a developing artist, Blackadder was never averse to new ideas and in particular, despite the fact that she could never be described as an 'abstract artist', gained much from her understanding of the non-figurative revolution which swept through European and American painting in the late 1950s and 1960s. Having in the early 1960s worked extensively in landscapes which echo Gillies, by 1965 Blackadder was looking at new ways of approaching the still life, taking her cue from Redpath and the Edinburgh School but bringing to this her own unique vision which drew on sources as diverse as Mughal miniatures and colour-field abstraction. Through the 1980s and 90s, as she worked in different styles for each of her chosen genres, her botanical work became more intense and her landscapes ever simpler. At the same time, the still lifes adopted a yet more flattened appearance with no perspective whatsoever. The objects were always chosen with care: from popular toys and ornaments to Japanese and Indian prints, floating in their space, often surrounded by a shimmering aura, suggesting an individual presence and character.
§ IAN FLEMING R.S.A., R.S.W., R.G.I., L.L.D (SCOTTISH 1906-1990) YOUR PRINTS FROM THE 'COMMENT'Etching and aquatint, 21/25, signed, titled, inscribed and editioned in pencil to margin, unframed (Dimensions: 45cm x 61cm (17.75in x 24in))Biography: Ian Fleming studied printmaking while at Glasgow School of Art, and even managed to sell two of his prints while still a student. After graduating, when working with Charles Murray, he encountered the engraving technique, a process he would go on to become extremely skilled in. While working as a lecturer at the Art School, he was introduced to the artist and designer, William Wilson; they became great friends and a strong influence on each other’s work. In his teaching career he taught both Robert Colquhoun and Robert MacBryde, and ultimately became Head of Gray’s School of Art in Aberdeen. Fleming is known for his high-skilled technique, creating detailed etchings and engravings, often of Glasgow and the Scottish Highlands.
A VICTORIAN ROYAL ARTILLERY OFFICER'S 1821 PATTERN SWORD, 90cm blade by MOLE & SONS, etched with scrolling foliage, crowned VR cypher and regimental devices, regulation steel three-bar hilt, wire bound fishskin grip. Note the quality of the etching is higher than usual and the rayskin has not been polished smooth, remaining chunky, no scabbard.
John Taylor Arms (1887-1953) Etching. The etching depicts the Cathedral Basilica of Saint Cecilia, also known as the Albi Cathedral, in Albi, France, that sustained damage during the French Revolution. It is signed in the margin at the bottom and dated 1927. Image Size: 10.25 x 13.5 in. Overall Size: 16 x 20 in. Framed behind plexiglass.
Two 19th Century hand painted lithograph etchings - prints to include bats and exotrci birds, some with marks for Fullerton & Co London & Edinburgh. Together with book plate of The past life-history of the Earth and two other framed and glazed etching studies of cats. Measures 50 cm x 30 cm.
Stamp Act.- Wilson (Benjamin), After. The Repeal, or the Funeral Procession, of Miss Americ-Stamp, etching, on laid paper with indistinct three leaf clover-shaped watermark, platemark 255 x 355 mm. (10 x 14 in), sheet 300 x 480 mm. (11 3/4 x 18 7/8 in), small loss within plate at upper left, numerous losses to margins, even toning, surface dirt and handling creases, unframed, [circa 1766].Literature:cf. BM Satires 4140⁂ After Wilson's celebrated engraving commemorating the repeal of the Stamp Act, showing a mock funeral procession in a London dock with various warehouses, in the left foreground a tomb, approached by the procession with Lord Bute, wearing tartan, immediately after the coffin, followed by the Duke of Bedford, at the end two bishops. [BM Satires]
Rego (Paula) The Children's Crusade, with an Introduction by Blake Morrison, number 26 of 90 deluxe copies with an original etching 'Bait' and signed by Rego and Morrison, from an edition limited to 190, tipped-in full-page illustrations by Rego, some colour, original cloth with colour illustration mounted on upper cover, uncut, original etching numbered & signed in pencil by the artist, loose as issued in folder, together in original cloth slip-case, folio, Enitharmon Press, 1999.
Printmaker's shop.- Bosse (Abraham, 1602-1676) Graveurs en taille douce au Burin et à l'eau-forte, etching, a clear impression on laid paper with small watermark of bunch of grapes, platemark 257 x 332 mm. (10 1/4 x 13 1/8 in), sheet 272 x 345 mm. (10 3/4 x 13 1/2 in), printers' creases in the lower right quadrant with short split at edge, running into the text, another small marginal tear in the upper right, just into the plate, otherwise some browning and exposure lines, rough edges, unframed, Paris, unframed, 1643; Cette figure vous montre comme on imprime les planches de taille douce, etching, on laid paper without watermark, sheet 230 x 317 mm. (9 x 12 1/2 in), trimmed within text description and to borderlines, some losses to corners, handling creases, some surface dirt and browning, unframed, [Paris, 1642]Provenance:[Graveurs en taille douce...] Two stamps of the Achenbach Foundation for Graphic Arts, San Francisco, one a "duplicate" stamp [L. 3a and 5069]Literature:[Graveurs en taille douce...] Lothe 255
Füssli (Johann Rudolf) Portrait of Maria Sibylla Merian, etching, 13 x 9 cm (5 1/8 x 3 ½ in.), trimmed just within platemark at foot, narrow margins on other sides, [Zurich, 1755] § Chodowiecki (Daniel) The artist's bookplate, etching, 8 x 6 cm (3 ¼ x 2 3/8 in.), trimmed just within platemark, laid on old album paper, c. 1770; together with a group of 17th and 18th century prints by Benigno Bossi, Bernard Lens, Hieronymus Wierx and others, all unframed (c. 33)
A MID-17TH CENTURY ETCHING of the East Front of "Old St Paul's Cathedral" London, in the style of Wenceslaus Hollar or Daniel King, 25cm x 18cm, close plain mounted, in slender black frame, together with TWO OTHER ARCHITECTURAL PRINTS, to include the Palace and Amphitheatre of "Caesar", and the Temple and Prospect of Balbec
Excellency of Pen and Pencil (The), exemplifying the Uses of them in the most exquisite and mysterious arts of Drawing, Etching, Engraving, Limning..., first edition, engraved frontispiece, folding plate and illustrations, some full-page, old ink signature of W.Vaughan at head of title, light spotting, a few small rust-spots causing holes, later tan morocco ruled in gilt, by Ramage, g.e., decorative gilt dentelles, [Wing E3779], 8vo, by Thomas Ratcliff and Thomas Daniel, for Dorman Newman and Richard Jones, 1668. ⁂ Rare; ESTC lists only 6 UK copies.
Perhaps Einstein´s most famous etched portrait signed by him EINSTEIN ALBERT: (1879-1955) German-born Theoretical Physicist, Nobel Prize winner for Physics, 1921. A good limited edition signed 8.5 x 11 etching of Einstein in a near profile head and shoulders pose, numbered 56/100. Signed `Albert Einstein´, in pencil, to the lower right part, at the base of the image. Also signed to the lower left border by the artist `Hermann Struck´. With very small overall age wear, and extremely small left corners clipped. VG £5000-8000 Struck was a German Jewish artist and passionate Zionist known for his etchings. He created portraits of several distinguished subjects including Einstein, Freud, Nietzsche, and Ibsen.
Albrecht Dürer (1471-1528)Christ on the Mount of OlivesEtching, 1515, but a later albeit clear and well inked Meder d impression, on antique laid paper with indistinct postal horn watermark, likely printed by Heinrich Wetterroth, platemark 224 x 160 mm (8 3/4 x 6 1/4 in), sheet 318 x 227 mm (12 1/4 x 8 7/8 in), wide margins, some spotting, (unframed)Literature:Meder 19; S.M.S 80
Rembrandt van Rijn (1606-1669)Self-Portrait etching at a WindowEtching, drypoint and burin, 1648, a good but later impression of New Hollstein's eighth state (of nine), the landscape showing wear but otherwise printing clearly, on slightly thick laid paper without watermark, platemark 158 x 131 mm (6 1/4 x 5 1/4 in), sheet 164 x 134 mm (6 3/8 x 5 1/4 in), scraping verso, recto with light rubbing and surface dirt (unframed)Literature:Hind 229; New Hollstein 240 viii/ix
δ Dieter Roth (1930-1998)Composition V (Dobke 448)Etching with drypoint, 1979, signed in pencil, from the edition of 268, on wove paper, printed by Hartmut Frielinghaus, Hamburg, published by Griffelkunst Vereinigung, Hamburg, with full margins, sheet 389 x 284mm (15 1/4 x 11 1/4in) (unframed)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Rembrandt van Rijn (1606-1669)Joseph Telling his DreamsEtching, 1638, a good but later impression of New Hollstein's fifth state (of six), on thin laid paper without watermark, platemark 111 x 83 mm (4 3/8 x 3 1/4 in), sheet 123 x 92 mm (4 7/8 x 3 5/8 in) (unframed)Together with:'The Persian', etching, 1632, but a later impression of New Hollstein's third state (of three) [AND] 'The Artist's Mother with her hand on her chest', 1631, but a later impression on laid paper (unframed) (3)Literature:New Hollstein 167 v/vi; 110 iii/iii; 87
δ Zao Wou-Ki (1921-2013)Illuminations, one plate (Agerup 180; Rivière 181)Etching with aquatint printed in colours, 1967, signed and inscribed 'E.A.', a proof aside from the edition of 200, on Rives wove paper, as included in 'Illuminations', printed by Atelier Lacouriere et Frelaut, published by Le Club Francais du Livre, Paris, with margins, plate 266 x 238mm (10 1/2 x 9 2/5in) (framed)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Francisco Goya (1746-1828)Quien se pondrá cascabel al gato? (Otras Leyes por el Pueblo), from: 'Los Proverbios'Etching with aquatint, circa 1824, but a slightly later impression on cream laid paper with text as published in L'Art, sheet 245 x 393 mm (9 3/4 x 15 1/2 in), upper edge trimmed within platemark, minor handling creases (unframed)Literature:Delteil 222; Harris 268
δ Bill Jacklin (b.1943)Girl in Deck ChairEtching, 1992, signed and numbered from the edition of 30 in pencil, on wove paper, as included in the Coney Island Suite, with full margins, the image, 240 x 315mm (9 1/2 x 12 1/4in) (framed)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
δ Bill Jacklin (b.1943)Bathers IEtching, 1992, signed and numbered from the edition of 30 in pencil, on wove paper, as included in the Coney Island Suite, with full margins, the image, 240 x 312mm (9 1/2 x 12 1/4in) (framed)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
δ Bill Jacklin (b.1943)The BatherEtching, 1992, signed and numbered from the edition of 30 in pencil, on wove paper, as included in the Coney Island Suite, the image, with full margins, 315 x 240mm (12 1/4 x 9 1/2in) (framed)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
δ Bill Jacklin (b.1943)Two Men TalkingEtching, 1992, signed and numbered from the edition of 30 in pencil, on wove paper, as included in the Coney Island Suite, with full margins, the image, 240 x 315mm (9 1/2 x 12 1/4in) (framed)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Francisco Goya (1746-1828)Al Toro y al Aire Darles Calle (Lluvia de Toros), from: 'Los Proverbios'Etching with aquatint, circa 1824, on cream laid paper with text as published in L'Art, sheet 240 x 350 mm (9 1/2 x 13 3/4 in), trimmed within the platemark, minor abrasion to extremities of sheet in the lower left corner (unframed)Literature:Delteil 223; Harris 269
δ Victor Pasmore (1908-1998)Points of Contact No. 19 (Bowness and Lambertini 34)Etching with aquatint printed in colours, 1973, signed, dated and inscribed 'AP' in pencil, an artist's proof aside from the edition of 70, printed by Kelpra Studio, published by Marlborough Graphics, London, with full margins, image 795 x 535mm (31 1/4 x 21in) (framed)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
δ Julian Trevelyan (1910-1988)Wallington, Clock Tower (Turner 317)Etching, aquatint and soft-ground printed in colours, 1975, signed and titled in pencil, a proof aside from the edition of 52 in pencil, on T H Saunders wove paper, printed by Studio Prints, Ltd, published by Leslie Waddington Graphics, London, with full margins, sheet 610 x 774mm (24 x 30 1/2in) (unframed)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
δ Peter Doig (b.1959)Echo LakeEtching printed in green, 2000, signed in pencil, numbered from the edition of 100, on wove paper, as included in the Cubitt Portfolio, with full margins, sheet 260 x 210mm (10 ¼ x 8 ½in) (framed)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Claude Lorrain (1600-1682)Le Bouvier (The cowherd)Etching, circa 1650-1651, a well inked impression of Mannocci's fourth state (A), with tree study in black chalk verso tracing the etched tree, on laid paper without watermark, sheet 134 x 202 mm (5 1/4 x 8 in), repaired tear to upper left corner, (unframed)Together with:Le Troupeau en marche par un temps orageux (The herd returning in stormy weather)Etching, circa 1650-1651, a good impression of Mannocci's second state (B), before the scratch of (C), on laid paper without watermark, sheet 160 x 220 mm (6 1/4 x 8 3/4 in), some brown spots (unframed)Literature:Mannocci 18 iv (A); 40 ii (B)
δ Damien Hirst (b.1965)Oh My God ... and for those really stubborn stains!!!!!?? (from In a Spin, The Action of the World on Things I)Etching printed in colours, 2002, signed in pencil, from the edition of 68, on Hahnemuhle paper, printed by Hope (Sufferance) Press, published by Charles Booth-Clibborn under his imprint the Paragon Press, London, the full sheet 910 x 706mm (35 3/8 x 27 3/4in) (unframed)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
δ Damien Hirst (b.1965)Tie a Yellow Ribbon Round the Old Oak Tree (from In a Spin, The Action of the World on Things I)Etching printed in colours, 2002, signed in pencil, from the edition of 68, on Hahnemuhle paper, printed by Hope (Sufferance) Press, published by Charles Booth-Clibborn under his imprint the Paragon Press, London, the full sheet 910 x 706mm (35 3/8 x 27 3/4in) (unframed)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
δ Marc Chagall (1887-1985)Musique (See Cramer Books 112)Etching with aquatint printed in colours, 1981, signed and inscribed 'Essai Pour Fernand' in pencil, a working proof aside from the total edition of 50, with unique colour workings, on BFK Rives wove paper, as included in 'Songes', printed by Fequet Baudier, published by Editions Gérald Cramer, Paris, the full sheet, plate 305 x 240mm (12 x 9 1/2in) (unframed)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
δ Salvador Dali (1904-1989)Sator (Field 69-1F; M&L 301g)Etching with hand colouring in gold, blue and purple, 1968/1969, signed and inscribed 'EA', one of very small number printed in black on tinted Arches paper, together with a second etching on silk, printed by Graphik Europa Anstalt, published by Robbe, Paris, with full margins, plate 318 x 238mm (12 1/2 x 9 2/5in) (unframed) (2)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
δ Harland Miller (b.1964)In Shadows I Boogie (Blue)The complete box set, comprising the etching with letterpress relief printing in colours and monograph, 2019, the print signed recto and numbered from the edition of 100 verso in pencil, the monograph signed and numbered from the edition of 100 in black ink, all housed within the original blue presentation box, together with a second signed copy of the monograph (pink), overall 345 x 253 x 45mm (13 1/2 x 9 7/8 x 1 6/8 in) (folio) (2)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Rembrandt van Rijn (1606-1669)Christ Driving the Money Changers from the TempleEtching with drypoint, 1635, but a later impression of New Hollstein's fourth state (of four), on laid paper without watermark, sheet 140 x 171 mm (5 1/2 x 6 3/4 in), trimmed to or just within platemark, tipped at upper corners onto support, even toning with scratches to surface (unframed)Provenance:F. C. Th. Baron van Isendoorn à Blois ((1784-1865) [L. 2610]Literature:Hind 126; New Hollstein 139 iv/iv
δ Salvador Dali (1904-1989)Chevalier a genou (Field 69-1K; M&L 305g)Etching with hand colouring in gold, blue and purple, 1968/1969, signed and inscribed 'EA', one of very small number printed in black on tinted Arches paper, together with a second etching on silk, printed by Graphik Europa Anstalt, published by Robbe, Paris, with full margins, plate 318 x 238mm (12 1/2 x 9 2/5in) (unframed) (2)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
δ Salvador Dali (1904-1989)Philosophe ecrase par le cosmos (M&L 642a; Field 74-12-A)Etching and lithograph printed in colours with embossing, 1974, signed by the artist and publisher and numbered from the edition of 195 in pencil, on watermarked Arches wove paper, published by Lavigne, Paris, full sheet, 981 x 700mm (38 1/2 x 27in) (unframed)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
δ Salvador Dali (1904-1989)L'Etalon Blanc (Hommage au cheval) (Field 74-9; M & L 639b)The scarce etching printed in sepia, 1973-1974, signed and inscribed 'AP.' in pencil, an artist's proof aside from the edition of 50, on Japan paper, printed by Torrents, published by Ärzte-Sammlerkreis, with full margins, plate 495 x 645mm (19 1/2 x 25 3/8in) (unframed)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Rembrandt van Rijn (1606-1669)The Descent from the Cross: Second PlateEtching and engraving, 1633, but a later and somewhat compromised impression of New Hollstein's sixth state (of eight), on laid paper without watermark and mounted on support, sheet 540 x 412 mm (21 1/4 x 16 1/4 in), numerous areas of loss, particularly to upper edge, upper corners, and lower left corner, handling creases, damp-stains and toning to sheet, nicks and tears to extremities (unframed)Literature:Hind 103; New Hollstein 119 vi/viii
Rembrandt van Rijn (1606-1669)Beggars Receiving Alms at the Door of a HouseEtching and drypoint, 1648, a good but later impression of the third state (of five) on laid paper without watermark, printing with plate tone and faint wiping marks, platemark 165 x 130 mm (6 1/2 x 5 1/8 in), sheet 169 x 134 mm (6 5/8 x 5 1/4 in), small nick to lower centre (unframed)Literature:Bartsch 176; New Hollstein 243 iii/v
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