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Los 288
*Simpson (Joseph, 1879-1939). Portrait of James Pryde, 1930, etching on cream laid paper, the second state, published in an edition of 75 proofs, signed in pencil, and marked 'S2 75', to lower margin, some very pale spotting, plate size 30.1 x 21.2 cm (12 x 8.4 ins), with margins, framed and glazed (1)
Los 29
*Piranesi (Giovanni Battista, 1720-1778). Veduta del Porto di Ripetta (from Vedute di Roma), 1753, etching on laid paper, 4th state, with address and price 'Presso l'Autore... Palazzo Tomati... due paoli e mezzo', a good clean impression with margins, plate size 39.5 x 59 cm (15.5 x 23.25 ins), framed and glazed Hind 28 iv/viii. (1)
Los 292
*AR Bone (Sir David Muirhead, 1876-1953). Castle of St. Angelo, Rome, 1913, drypoint etching on fine Japan paper, one of only four impressions of the only state, inscribed to upper left blank margin 'MB' (indicating a proof reserved by the artist for himself), and to lower margin 'MB & GHB Old Print only state - 2', plate size 22.8 x 35.3 cm (9 x 13.9 ins), framed and glazed Provenance: Lady Bone. Acquired from Garton & Cooke, circa 1984 (probably Catalogue 29, Item 57). Campbell Dodgson 300. Harold Wright notes in his supplement to Dodgson's catalogue that there were two early impressions, of which this is one, with two further printed in 1946. (1)NB: This lot may be subject to ARR ("Droit De Suite")
Los 294
*Strang (William, 1859-1921). Hilltop Church (from Spanish Etchings), 1913, etching with drypoint, from the series of seven etchings published by Maclehose and Sons, Glasgow in 1913 in an edition of 100, a very good impression, with margins, signed in pencil, plate size 26.5 x 31.5 cm (10.5 x 12.4 ins), pencil caption, framed and glazed Binyon 342-348 for the Spanish set. (1)
Los 295
*Tanner (Robin, 1904-1988). Study for "Autumn", 1931, pencil study on paper, signed, dated October 3, 1931, and titled lower left, 14.5 x 13.5 cm (5.7 x 5.3 ins) mount aperture, framed and glazed, with Garton & Co printed label to verso A preparatory study for the curled leaves clearly visible in Tanner's etching Autumn, printed in 1935. (1)
Los 297
*Tunnicliffe (Charles Frederick, 1901-1979). Pigs Foraging, etching with aquatint on japon paper, signed in pencil and inscribed 4th state, some mount staining, printing flaw to sky area, plate size 12 x 17 cm (4.75 x 6.7 ins), sheet size 19 x 24.8 cm (7.5 x 9.75 ins), stamped Charles Tunnicliffe R.A. Studio 1980 to verso of the sheet, framed and glazed, with Christie's printed auction label for their sale Modern British Prints, Wednesday 12 April 2006, lot 21, to verso (1)
Los 298
*Van Muyden (Evert Louis, 1853-1922). Self-portrait by Lamplight, 1890, etching on cream laid paper, numbered in pencil 142 to lower margin, plate size 11.6 x 8 cm (4.6 x 3.1 ins), sheet size 31 x 24 cm (12.2 x 9.4 ins), together with Liebermann (Max, 1847-1935), Kellergarten in Rosenheim, 1895, etching on wove paper, plate size 19 x 23.8 cm (7.5 x 9.4 ins), with full margins, plus Schmutzer (Ferdinand, 1870-1928), Lehenbruder, Klosterkuche in Assisi (A lay brother in the kitchen of the monastery of Santa Chiara, Assisi), 1908, soft-ground etching on thick wove paper, signed in pencil, plate size 20.5 x 19 cm (8.1 x 7.5 ins), with margins, and two others related (another large signed etching by Schmutzer, possibly depicting the actor Josef Kainz as Hamlet, and an etching of a cafe interior, Munich, by Heinrich Wolff, circa 1895, issued by Gesellschaft fur Vervielfaltigende Kunst, Vienna), all mounted (5)
Los 30
*Piranesi (Giovanni Battista, 1720-1778). Veduta di Piazza di Spagna (from Vedute di Roma), 1751, etching on laid paper, the 4th state with the address and price 'Presso l'Autore... Palazzo Tomati... due paoli e mezzo', a good clean impression, with margins, plate size 40.5 x 60.5 cm (16 x 23.75 ins), black and gilt frame, glazed Hind iv/viii. (1)
Los 300
Whistler (James Abbott MacNeill, 1834-1903). The Unsafe Tenement, 1858, etching on chine colle, the 4th state (of 4) with printer's name and address erased, a rich clean impression with light plate tone, with margins, plate size 15.3 x 22.6 cm (6.02 x 8.89 ins), with good margins, framed and glazed Kennedy 17, iv/iv. Glasgow Online Catalogue 18, iv/iv (records 76 known impressions). From the series: Twelve Etchings from Nature first published in 1858. (1)
Los 301
*Whistler (James Abbott MacNeill, 1834-1903). The Rag Gatherers (or Rag Pickers, Quartier Mouffetard, Paris), 1858, etching and drypoint on laid paper, the 5th state (of 5) with figures present and date, a clean impression with light plate tone, with margins, plate size 15.3 x 8.9 cm (6.02 x 3.50 ins), with good margins, framed and glazed Kennedy 23, v/v. Glasgow Online Catalogue 29, v/v (records 80 known impressions). (1)
Los 302
*Whistler (James Abbott MacNeill, 1834-1903). La Marchande de Moutarde, 1858, etching on laid paper, the 5th state (of 5) with printer's name and address removed, a clean impression with margins, plate size 15.4 x 8.8 cm (6.06 x 3.46 ins), with good margins, framed and glazed Kennedy 22, v/v. Glasgow Online Catalogue 20, v/v (records 75 known impressions). From the series: Twelve Etchings from Nature first published in 1858. (1)
Los 304
*Wyllie (William Lionel, 1851-1931 ). Rouen, drypoint etching, signed in pencil lower left, light staining to lower blank margin, plate size 16 x 37.5 cm (6.4 x 14.8 ins), sheet size 26.4 x 45 cm (10.5 x 17.8 ins), together with a sepia aquatint of Framlingham Castle by G. Dudley Kaynes, signed and titled in pencil (2)
Los 31
*Piranesi (Giovanni Battista, 1720-1778). Veduta del Ponte Molle sul Tevere due miglia lontan da Roma (View of the Milvian Bridge Over the Tiber Two Miles outside Rome), from Vedute di Roma, 1762, etching on laid paper, the first state (of 4), with price and address below the title, plate size 43.5 x 67.5 cm (17.5 x 26.7 ins), framed and glazed, with framer's label of David Cossart, 49 Roland Gardens, London SW7 to verso Focillon 767. Hind 64 i/iv. Wilton-Ely 197. (1)
Los 328
*Aynscomb-Harris (Martin John, born 1937). A group of four landscapes, circa 1990s, watercolour, gold and gouache on paper, together with an etching with aquatint artist's proof titled 'White Sail' by Aynscomb, all signed, approximately 29 x 54 cm (11.5 x 21.25 ins) and slightly smaller, all framed and glazed (6)
Los 33
*Rembrandt (Harmensz. van Rijn, 1606-1669). St. Jerome in a dark chamber, 1642 (Bartsch 105; Hollstein 201), etching on laid paper, without watermark, probably a 19th century impression from the original plate, by Henri Louis Basan or Auguste Bernard, some light overall browning, plate size 15 x 17.3 cm (6 x 6.8 ins), sheet size 16 x 18.2 cm (6.35 x 7.2 ins), mounted, together with a collection of 95 various Old Master etchings and engravings by Rembrandt, Durer, Claude, Frans van Bloemen, Jan van Kessel, Israel, Silvestre, Karel Dujardin, Stefano della Bella [the majority apparently from Kay's reissue of 1826, entitled Collection of Original Etchings by Kay of Welbeck Street, Cavendish Square, London], and including 12 etchings of Italian scenery by Farington, Gandon, E. Rooker, M. Rooker and W. Hodges after Richard Wilson, published by John Boydell in 1776, the majority mounted on album leaves and bound in an early 19th century gilt-decorated morocco binding, worn, and one other worn and broken gilt-decorated red morocco binding, both folio (96)
Los 420
*Aynscomb-Harris (Martin John, born 1937). Siamese cat, circa 1990s, charcoal on wove paper, signed in pencil lower left, 19 x 24 cm (7.5 x 9.5 ins), framed and glazed, together with Top cat, artist's proof, circa 1990s, etching in red on wove paper, image size 12.5 x 25 cm (5 x 10 ins), signed and titled in pencil to lower margin, plus Village cross, circa 1990s, etching with aquatint and gouache on wove paper, image size 16 x 21 cm (6.25 x 8.25 ins), signed, titled and numbered 48/100 in pencil to lower margin, framed and glazed (3)
Los 464
*Ovenden (Graham, 1943-). The Final Reproach, 1974-75, intaglio colour etching on heavy wove paper, signed and dated '79, marked P/P to lower margin, plate size 32.5 x 43 cm (12.75 x 17 ins), sheet size 66 x 66 cm (26 x 26 ins), together with 17 other signed intaglio prints by Ovenden on similar heavy wove paper, including Little Lorraine, 1970, Lo Thoughtful by the Lake, Lolita-Vanitas, 1974-75, Lolita Recumbant, Lolita Perturbed, 1975, etc., mostly signed and dated '79 in pencil, and marked P/P, but including two dated 1970 marked Artist's Proof, one dated 1970 and numbered 1/10, and another dated 1972, a/p, most with publisher's embossed W to lower right corner, similar sizes (a few slightly smaller) (18)
Los 507
William Lionel Wyllie R.A. (British, 1851-1931)Westminster Hospital, drypoint etching, signed in pencil lower left, 7 x 9 in. (19 x 24.75cm.), in late 20th century Green & Stone frame. * Condition: Mount burn, light toning to paper. Minor fox mark to lower margin of image and another to outer margin by mount. A few flakes from gilding on frame to edges.
Los 1201
David Hockney, aquatint etching ' He Tore Himself in Two ', from the story ' Rumpelstilzchen ' for six fairy tales from the Brothers Grimm, Edition of 15 artists proofs aside from the portfolio Edition of 100, 17ins x 11.75ins (Artists Resale Rights may apply) CONDITION REPORT Good condition, no foxing or signs of any damage. It is not signed.
Los 1203
James McNeill Whistler, an original etching ' Rotherhithe ' (W60), a sailor smoking on a quayside together with another ' Billingsgate ', sailing boats moored at a quayside (margins trimmed) and two other facsimile etchings CONDITION REPORT Busy boating scene is completely trimmed, no margin left, image of St James Street is a reprint but not etching (old 1878 print)Others are framed and mounted so cannot see how much of margins are left.Whistler - is a full sheet with a straight edge to right hand side, unsigned and in original frame. It is stuck down onto card but just around the edges. It is original and has come in privately from a local vendor.
Los 89
'Vienna', three colour etchings on silk signed in pencil by Hans Figura (Austrian 1898-1978), 'Vienna Graben', etching signed by Robert Kasimir (Austrian 1914-2002) and 'Le Sacre Coeur..', ltd.ed etching No.108/200 signed in pencil by Aimé Edmond Dallemagne (French 1831-1914) titled verso max 44cm x 20cm (5) Condition Report Click here for further images, condition, auction times & delivery costs
Los 215
CONTEMPORARY SCHOOL, RENDEZ-VOUS etching, signed indistinctly; titled, dated 1978 and numbered 13/25 in pencil 5.5cm x 7.8cm Mounted, framed and under glass and and * Margaret Hunter, pencil sketch; and Bag Lads pencil on paper; and a watercolour, each signed 20cm x 12cm; and Mounted, framed and under glass
Los 195
Rembrandt van Rijn (1606-1669) Christ Crucified Between the Two Thieves: an oval plate, etching, a good impression of New Hollstein's second state (of three), on laid paper with partial watermark of Strasbourg lily (similar to Hinterding's B-i, datable to 1650s), platemark 133 x 98 mm. (5 1/4 x 3 7/8 in), sheet 136 x 101 mm. (5 3/8 x 4 in), tipped onto paper support along left edge, minor surface dirt, unframed, circa 1641 and later. Provenance:Probably Chevalier de Damery (d. 1803?) [L.2862]; indistinct 5 mm. circular blind stamp lower right recto
Los 196
Rembrandt van Rijn (1606-1669) Three oriental figures (Jacob and Laban?), etching with delicate plate tone, a well inked impression of New Hollstein's second state (of two), on cream laid paper without watermark, platemark 145 x 114 mm. (5 3/4 x 4 1/2 in), sheet 152 x 120 mm. (6 x 4 3/4 in), some small spots, the largest just above the figure furthest on the right, unframed, [circa 1641, but later].Literature:New Hollstein 190
Los 197
Rembrandt van Rijn (1606-1669) The Circumcision in the Stable, etching, a richly inked impression of New Hollstein's final state (of five), on fine cream laid paper with partial watermark of Strasbourg lily (probably late 18th century), platemark 95 x 144 mm. (3 3/4 x 5 3/4 in), sheet 111 x 162 mm. (4 3/8 x 6 3/8 in), some small spots, unframed, [circa 1654, but later].Provenance:Unidentified collector's stamp verso, 'Collectie/ P. B. [?...]Man/ AmsterdamLiterature:New Hollstein 280
Los 199
French and Spanish engravers.- Reverdy (Georges, ca. 1529-1557) The Holy family, after Parmigianino, after Schiavone, engraving, an excellent impression on thin laid paper without watermark, sheet 118 x 87 mm. (4 5/8 x 3 3/8 in), trimmed on platemark, inset at edges onto paper support, small repairs to nicks and tears at extremities, old ink attribution verso, unframed, [circa 1530-1550] § Audran (Gérard, 1640-1703) Christ hands over the keys to St Peter, after Raphael, etching on laid paper without watermark, sheet 105 x 175 mm. (4 1/8 x 6 7/8 in), trimmed to image with thread margin around borderline, inset at edges onto paper support, some browning and stains, rubbing and handling creases, with 'very scarce' inscribed on mount and verso, unframed, [circa 1660-1700]; Sorello (Miguel de, ca. 1700-1765) Christ hands over the keys to St Peter, after Raphael, etching and engraving, 265 x 370 mm. (10 1/2 x 14 1/2 in), central vertical fold, inset at edges onto paper support, unframed, [early to mid-18th century]; together with a good mixed group of various old master prints, including Sebastiano Fulcaro's (ca. 1612-1640) The Last Judgement, after Michelangelo, an anonymous 16th century Adoration of the Shepherds, published by Lafrery, Battista Franco's (1510-1561) An antique subject depiciting three men, [B. 71], Camillo Cungi's (fl. 1597-1649) The Pietà, and three others, all unframed, mainly 17th and early 18th century (10).Provenance:(Reverdy) William Esdaile (1758-1837), London [L. 2617]⁂ A group of scarce and unusual prints. We have been unable to find any other records at auction for the first three mentioned. Initially considered to be Italian by Bartsch, Reverdy was infact French, and worked as a printer in Lyon during the French Renaissance. For another impression of the Reverdy etching, of inferior quality, see the Mariette Album, held in the Met Museum, New York (acc. no. 27.78.2(312)), and at the BM (acc. no. W,1.82).
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78472 Los(e)/Seite