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Preisdatenbank abonnierenRembrandt van Rijn (1606-1669) Man drawing from a castEtching, circa 1641, but a later impression of New Hollstein's fifth state (of six), before further reworking, on cream wove paper without watermark laid onto thin tissue, sheet 96 x 67 mm. (3 3/4 x 2 5/8 in), trimmed to platemark or just within, unframed.Literature:Hind 191; New Hollstein 192 v/vi
Rembrandt van Rijn (1606-1669) St Jerome Kneeling in Prayer, Looking DownEtching, 1635, but a later impression of New Hollstein's second state (of two), lightly re-worked around the right elbow on cream laid paper without watermark, platemark 112 x 81 mm. (4 1/2 x 3 1/4 in), sheet 123 x 94 mm. (4 7/8 x 3 3/4 in), good margins, unframed.Literature:Hind 140; New Hollstein 142 ii/ii
Rembrandt van Rijn (1606-1669) A Peasant in a High Cap, Standing Leaning on a StickEtching, 1639, a very good but later impression of New Hollstein's second state (of two), without any re-working but with the two dots in the upper right corner, on cream laid paper without watermark, platemark 83 x 46 mm. (3 1/4 x 1 3/4 in), sheet 98 x 59 mm. (3 7/8 x 2 1/4 in), good margins, unframed.Literature:Hind 164; New Hollstein 178 ii/ii
δ David Hockney (b.1937) Made in April (M.C.A. Tokyo 188) Etching with aquatint printed in colours, 1976-77, signed and numbered from the edition of 200 in pencil, on wove paper, as included in the portfolio The Blue Guitar, published by Petersburg Press, London and New York, with full margins, sheet 525 x 456mm (20 5/8 x 18in) (framed) In 1976, Hockney spent the summer in New York where he discovered a collection of poems by Wallace Stevens. He found the poem 'The Man with the Blue Guitar' particularly captivating. This poem was in fact inspired by Steven's encounter with Pablo Picasso's famous The Old Guitarist in 1936. For the poet, the blue guitar and its music become symbols for artistic creativity. It is of little surprise then, that the young Hockney drew rich inspiration from both iconic works. Shortly thereafter he produced ten drawings that interpreted both the poem and Picasso's style in his own way. The present portfolio is the result, which bears the fitting title: The Blue Guitar, etchings by David Hockney, who was inspired by Wallace Stevens, who was inspired by Pablo Picasso. 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 artist's mother: head only, full faceEtching, circa 1628, a good impression of this rare little print, New Hollstein's second state (of two) with completed hood, on laid paper without a watermark, sheet 43 x 54 mm. (1 1/4 x 2 1/8 in), trimmed within the left edge and the blank space above, with thread margin below, minor surface dirt, unframed.Literature:Hind 2; New Hollstein 6 ii/ii
δ Colin Self (b.1941)Figure 1 (Sidey 1059)Etching, 1971, signed and numbered from the edition of 60 in pencil, on Crisbrook paper, printed and published by Editions Alecto, London, with full margins, sheet 686 x 540mm (27 x 21 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 Joe Tilson (b.1928)ProrosiaEtching with aquatint printed in colours, 1978, signed, dated and numbered from the edition of 70 in pencil, on wove paper, with full margins, sheet 750 x 845mm (29 1/2 x 33 1/4in) (unframed)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
δ Joe Tilson (b.1928)Mask of OceanosEtching with aquatint printed in colours, 1984, signed, dated and numbered from the edition of 40 in pencil, on wove paper, published by Waddington Graphics, London, the full sheet, 1145 x 1035mm (45 x 40 3/4in) (unframed)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Michele Lehmann (Irish) - etching of a woman's head 9/25, signed and dedicated My First Etching to Lynn & Val, 17 1/2" x 12 6/8", a smaller etching of rural Irish folk 60/150, signed, 4 2/8" x 13" and a Christmas card 3/A, a signed etching with greetings to Lynn & Val to insideProvenance: Val Doonican's Estate and thence by descent
ALBRECHT DURER (1471-1528), a coloured etching of a Knight on his horse, mounted, framed and glazed, approximate size 40.5cm x 30cm, together with a June Vickery watercolour of mallards on a riverbank, signed and dated 1979, and an Alan Ingham open edition print 'Spring in the Dales', both mounted, framed and glazed (3)
Eileen A Soper (1905-1990), The Shadow, monochrome etching, signed, 11 x 7cm visible, together with a further monochrome etching signed by the same hand, little girl amongst grasses watching a butterfly, 12 x 11cm visible approx, also together with a monochrome print after George Soper (1870-1942) of a South Down shepherd, 17 x 25cm approx, all framed
Gillian Lawson (20th century British) - Gone Fishing, signed coloured limited edition, etching, 56 x 56 cm, together with a further artists proof by the same hand - Village Pond, 54 x 65 cm, further signed coloured limited edition etching after Anna Pugh, Wild Geese, a watercolour landscape signed George Cutler and a framed montage including three five pound notes, all framed
Sir David Young Cameron, RA, RSA, (Scottish 1865-1945) - The Sutherland Hills, watercolour, signed, inscribed to mount and with label verso from Wallis & Son, New Bond Street, London, 20 x 34cm, framed, together with further works by the same hand, including a monochrome etching of Dieppe Castle, signed, 26 x 42cm, framed, a monochrome study of a figure beside a building, with initials DYC and with Leggatt Brothers Gallery label verso, 25 x 19cm, framed and a coloured print - The Shadows of Glencoe, unframed
E G Thomson (early 19th century British school) - Bust length portrait of a young officer, watercolour, signed, 17.5 x 12.5cm, framed, together with a collection of pictures and prints relating to the Curwen family including an oil portrait of Miss P Curwen, with label Pamela Nathan, an early 19th century black and white engraving of John Christian Curwen Esq, MP, a pair of pencil studies of doves, signed JC Curwen, a monochrome etching - study of two boys, etcetc
W Belch (early 19th century) - Coloured and embellished engraving - The Launch of the Thunderer Man of War, 1831, 20 x 30cm approx, a similar coloured engraving - Outward Bound India Man, a 19th century Indian school gouache of a hunting scene, 24 x 34cm sheet size, a monochrome etching of an eastern scene with temple, indistinctly signed, a signed artist proof of moored boats, signed Halpern?, etc, various sizes, all framed
Robert Walker Macbeth (British 1848-1910) - The Rainy Day, after Fred Walker, artists proof etching, signed, 18 x 30cm, together with Edgar L Pattison (B.1872) - A Moorish Courtyard, monochrome etching, signed, 90 x 23cm, together with seven other monochrome etching artists including Bessell, Sharland, Keeling, etc, also together with a small watercolour study of boats above Assinet, dated 87, all framed (10)
Sir David Young Cameron, RA, RSA (British 1865-1945) - Perth Bridge, monochrome etching, unsigned, 19 x 27cm, an 18th century map of Cambridgeshire, entitled - The Road from London to Kings Lyn (sic), 18 x 12cm, Samuel and Nathaniel Buck - The South Prospect of Preston in the County Palatine of Lancaster, 29 x 75cm, further 19th century and other topographical engravings, WJ Maskell (20th century British school) - Three Views of Cambridge, unframed, etc
Albert Pollitt (British 1856-1926) - Coastal scene with figures, watercolour, signed, together with a further watercolour of a castle with initials RA, watercolour of a still life with flowers and fruit, signed Warren and dated 1946, oil on canvas, still life with fruit, and a monochrome etching of a house, signed Chas Clark, all framed
George Soper (1870 - 1942), signed etching - the runaway hay cart, in glazed gilt frame, 22cm x 35cm CONDITION REPORT Glazed - not examined out of frame. Images are in good condition. One stain top right from margin but into image. Similar stain lower left confined to margin. Some fine staining where mount meets paper. Very minor spotting and some bugs under glass
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