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Preisdatenbank abonnierenWest Indies.- Granada.- Daniell (William) A View of the Town of St George in the Island of Granada; A View of the Town of St George and Richmond Heights, two views after Lieutenant-Colonel J. Wilson, aquatints with etching and hand-colouring, each approx. 410 x 570 mm. (16 1/8 x 22 1/2 in), some expert restoration visible, mainly to extremities, with sheets laid onto thin paper support, some spotting and surface dirt, unframed, W.H. Timms, 1819 (2)
The Studio - Modern Etching and Engraving, edited by Charles Holme, 1902; The Royal Academy, from Reynolds to Millais, edited by Charles Holme, 1904; Nash (Joseph), The Mansions of England in the Olden Time, 1906; Royal Scottish Academy, edited by Charles Holme, 1907; Vallance (Aymer), Art in England During the Elizabethan and Stuart Periods, 1908; Rawlinson (W.G.), The Water-Colours of J.M.W. Turner, 1909; Williamson (Dr George C.), Portrait Miniatures, 1910; Peasant Art in Sweden, Lapland and Iceland, edited by Charles Holme, 1910; Pen, Pencil and Chalk: A Series of Drawings by Contemporary European Artists, edited by Charles Holme, 1911; Peasant Art in Russia, edited by Charles Holme, 1912; Salaman (Malcolm C.), The Great Painter-Etchers, from Rembrandt to Whistler, 1914, each uniformly bound by J. Dratwa of Vienna, stamped, in contemporary tan half-morocco and marbled boards, raised bands gilt with meander, lettered in the second and fourth compartments, Art Nouveau endpapers, 4to, [11]
Binding - Burton (John Hill, D.C.L., LL.D.), The Book-Hunter etc., A New Edition with a Memoir of the Author, numbered limited edition 87/1000, William Blackwood and Sons, Edinburgh and London 1882, pp: [vi], x, civ, 427, [i], portrait frontispiece etching of the author by William Brassey Hole RSA (1846 - 1917), further full-page lithographic plate of a library, woodcut borders, vignettes, head and tail pieces and initials, full contemporary red crushed morocco gilt, by Zaehnsdorf, stamped, the covers with a triple-fillet and flowerhead bosses to angles, the spine with six compartments tooled with Pliny's doves in scrolling foliate compartments, titled in the second and dated in the seventh compartments with gilt-lettered green morocco labels, further gilt scroll cross dentelles, marbled endpapers, top edge gilt, contemporaneous ink MS gift inscription to front free endpaper dated 1889, thick 8vo
R Simkin (20th century British) - Grenadier Guards, Officers, Service and Review Orders, c.1914, watercolour and bodycolour on paper, signed and inscribed to mount, 19.5 x 14cm, together with an early 20th century signed coloured etching of horse guards, signed Edward King, 28 x 39cm and a coloured print of First or Grenadier Regiment Foot Guards, 1925, in various dress uniform, 49 x 59cm, all framed
A collection of four 18th century coloured county maps by Robert Morden comprising Norfolk (2) Middlesex and Worcestershire, max approx size 39 x 57cm, all framed, together with an early 20th century black and white etching of a Thames scene with Tower Bridge, signed W Edwin Law, 16 x 20.5cm visible sheet size, framed
A collection of pictures and prints to include a signed limited edition coloured etching after Michael Blaker of sailing barges at low water, signed sepia coloured limited edition etching of sweet chestnuts, signed and inscribed Marco Ricer? a miniature watercolour landscape by Anni Washington, a 1911 Christmas edition of The Art Journal - dedicated to the art of Stanhope Forbes, various unframed prints, etc
Eugene Bejot (French 1867-1931) - Thames view with sailing barge, monochrome etching, signed, 14 x 20cm visible sheet size, mounted, together with Hy Woods (early 20th century) - Shipping in the Pool of London, watercolour on card, signed, 26.5 x 38.5cm, unframed JN Duchesne, View of the Castello De Sant' Angelo, Rome, monochrome ink and body colour, signed to mount, 20 x 29.5cm, framed
After JF Herring - Pair of coloured hunting engravings, 40.5 x 72cm, together with a 19th century black and white engraving of a stylish young woman walking amongst horse chestnut trees, with indistinct signature upper right, G Gilfest? 58 x 28.5cm, a 19th century school watercolour of a river scene with single arched bridge, a chromolithograph of a winter scene and a signed coloured etching of Derwent Water after Claude H Rowbotham, various sizes, all framed
Augustus Edward John (1878-1961) OM and RA. A self-portrait dry-point etching by the Welsh artist is simply signed John lower right and dated 1920, approx 12 x 17 cms, framed and glazed. Note: Label to verso for The Chenil Gallery reads as follows: Etched in 1919 and published in 1920 in the Edition de Lux of Campbell Dodgson's Catalogue. This impression was removed by the original purchaser and sold apart from the volume that sold at Sotheby's. It was later purchased by the Chenil Gallery Chelsea. This etching is from the estate of the Late Henry Chapman-Pincher author, journalist and historian.
C. Marianne Unwin, by and after, The Market, signed, titled, and dated 1972 to margin, No. 8 of 25, Aquatint Etching, 21cm x 26cm; another by the same artist, Washpool Cottages, Raining, signed and dated 1973, 19cm x 25cm; H. C. TsaiNegros Occidental, Phillipines, signed, titled, watercolour, 34.5cm x 48.5cm; Mat Louwrens (South African, bn. 1936)A Quiet Gully, signed, pastel, 30cm x 47cm; Oswald Garniss (late 19th, early 20th century), After a Long Day's Worksigned, dated 1907, oil on canvas, 76cm x 55cm; Siegfried Didszus; The Pamir at Full Sail, inscribed and signed Pamir/S. Didszus lower left, oil on canvas, 50cm x 100cm, unframed
*SIR EDUARDO PAOLOZZI KBE RA HRSA (SCOTTISH 1924 - 2005), LES CHANTS DE MALDOROR, DUCASSE etching, with extensive hand colouring by the artist, signed, dated 1992 and numbered 46/50 39cm x 56cm Framed and under glass. Note: Published as part of Six Artists: The 1992 Royal College of Art (London) Portfolio of (6) Prints as a limited edition of 50.
* TIM MARA (IRISH 1948 - 1997), PLASTIC FUNNEL, MORTAR AND PESTLE screenprint, signed, titled, dated 1992 and numbered 46/50 in pencil 76cm x 57cm Framed and under glass. Note: Published as part of Six Artists: The 1992 Royal College of Art (London) Portfolio of (6) Prints as a limited edition of 50. The other artists selected for this portfolio were John Bellany RA, Sir Eduardo Paolozzi RA, Nana Shiomi RE, Dame Paula Rego RA and Sir Terry Frost RA. Tim Mara worked as an artist and as a teacher for 25 years teaching at NCAD Dublin, later becoming Head of Printmaking at the Royal Collage of Art, London. He was particularly noted for his use of screenprinting, etching and lithography and was awarded numerous pretigious awards and prizes. In 1978 he was commissioned to write the Thames and Hudson Manual of Screen Printing . Born in Dublin in 1948, Tim Mara moved with his family to England in 1953 where he continued to live and work. Mara's prints are included in collections at the Tate London, Victoria and Albert Museum, Irish Museum of Modern Art as well as many other galleries and private collections worldwide.
* CARLO ROSSI RSW RGI (SCOTTISH 1921 - 2010), STILL LIFE monotype, signed and dated '89 43cm x 53cm Mounted, framed and under glass. Label verso: Compass Gallery, 178 West Regent Street, Glasgow. Note: Monotyping produces a unique print, or monotype, made by or on a smooth, non-absorbent surface. The surface, or , was historically a copper etching plate, but in contemporary work it can vary from zinc or glass to . The image is then transferred onto a sheet of by pressing the two together, usually using a . Monotypes can also be created by inking an entire surface and then, using or rags, removing ink to create a subtractive image, e.g. creating lights from a field of opaque colour. The inks used may be oil based or water based. With oil based inks, the paper may be dry, in which case the image has more contrast, or the paper may be damp, in which case the image has a 10 percent greater range of tones. Carlo Rossi created an exceptional body of work using the monotype process and was an enthusiastic exponent of the medium.
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