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78475 Los(e)/Seite
Los 1323
French School (mid-18th century), a set of nine prints of Roman antiquities, comprising Jeux d'Enfans Naumachie, after Étienne Dupérac (1525-1604); Chaussures, after Filippo Bonanni, S.J. (1638-1723); Habits des Romains [from the] Arc de Constantine; Barque Chargée de Soldats, Col. de Theodose; Timoclée Menée Devant Alexandre (sic); Chars a Deux Roües, Chars a Quatre Roues; Chars [from Trajan's Column, Rome]; [Horses from Trajan's Column]; Tombeaux Des Septentrionaux, full-page monochrome copperplate engravings, from a contemporary folio, possibly a publication by the Baron d'Hancarville, 43.5cm x 26.5cm; pages 3-4 of volume I en suite, engraved sub-title vignette, 43.5cm x 26.5cm; French School, unusual roller coaster print, La Ramasse, Le Bon Genre, No. 99, 1931 restrike, hand-coloured copperplate etching, 30cm x 40cm; French School (early 20th century), a set of six fashion prints, Les Modes du XIX Siècle, Grand Ouvrage Illustré, Paul Ollendorff, Paris [c. 1905], (folio)
![London.- After Wenceslaus Hollar (1607-1677) [Long View of London from Bankside], sheet 3 only (of 7), possibly by Richard Pr](https://cdn.globalauctionplatform.com/5d8dce2e-5231-4872-adfb-a825010f01aa/ffd2a005-c2f6-4ee8-8ebb-e12421f18443/468x382.jpg)
Los 451
London.- After Wenceslaus Hollar (1607-1677) [Long View of London from Bankside], sheet 3 only (of 7), possibly by Richard Pricke, etching and engraving, on laid paper with small fleur-de-lis watermark, 490 x 395 mm. (19 1/4 x 15 1/2 in), good margins, some damp-staining and surface dirt, unframed, [circa 1660 and later]; together with a large engraved view of St Paul's dome from the West, 520 x 725 mm (20 1/2 x 28 1/2 in), [probably 18th century] § Nicholls (Sutton) The West Side of London Bridge; The East Side of London Bridge, from: Britannia Illustrata, double prospect of the old bridge, each view with sail ships and other river craft in the foreground, text panel below, engraving on two sheets, joined, sheet approx. 590 x 915 mm. (23 1/4 x 36 in), published by John Smith, [circa 1710]; together with George Vertue's The Inside Perspective View of the Under Chappel of St Thomas within London Bridge from the West to the East, and A West View of the West Front of the Chapel dedicated to St Thomas on London Bridge, and The View of the Charity-Children in the Strand, upon the 7th of July 1713, engravings, central vertical folds, minor nicks and tears, handling creases, surface dirt and browning, all unframed, 1715-1747; and with four other views of London, including The Illustrated London News View of London from St. Paul's, On Lord Mayor's day, engravings and lithographs, largest 390 x 570 mm. (15 1/4 x 22 1/2 in), all unframed, [19th century], (10)
Los 39
A DIAMOND AND GOLD BROOCH, BY STERLÉ, CIRCA 1955Of stylised fern motif, highlighted with round brilliant-cut diamonds and one marquise-shaped diamond accent, mounted in 18K gold, signed Sterlé Paris, numbered, maker's mark, French assay mark, length 8.5cmSterléSon of a family of bankers, Pierre Sterlé was sent to live with his uncle, a jeweller in Paris, after the death of his father during the First World War. In 1934 he founded his own establishment and was supported by many large jewellery houses, such as Boucheron and Chaumet, for whom he was already designing jewellery. Sterlé quickly acquired both international renown and a clientele who enjoyed the exclusive nature and originality of his style. His reputation was cemented when he won the De Beers Diamond Award, a major achievement in the jewellery profession, for 3 consecutive years 1953, 1954 and 1955.The style of Pierre Sterlé is characterised by its inspirational designs, artistic treatment and technical mastery. His recurring themes derived from nature, such as birds, wings, feathers, animals and various types of flowers, feature asymmetry and a type of baroque extravagance, contrasted with geometric forms and opulent arabesques, observed in the traditional jewellery of the era. Sterlé managed to manipulate metal like no other before him. The technique used on the metal suggests dripping, freezing or etching, resulting in braided, twisted and flexible ropes of gold.Despite coming from a family of financiers, Sterlé was a poor businessman, his perfumes and boutique were financial disasters, leading to the liquidation of his company in 1976. During the final years of his life, he became a technical consultant at Chaumet. However, thirty years after his death, the items created by him continue to have a strong following at auction.
Los 174
Dieter Roth (1930-1998) Duett (Duet) (Dobke 182)Etching with drypoint printed in black, 1971, signed, dated and numbered from the edition of 30 in pencil, on wove paper, printed by Karl Schulz, Braunschweig, published by Petersburg Press, London, with full margins, sheet 780 x 940mm (30 3/4 x 37in)(unframed)
Los 175
Dieter Roth (1930-1998)An der See (By the Sea) (Dobke 236)Drypoint with etching, 1971, signed, dated and numbered from the edition of 50 in pencil, on wove paper, printed by Karl Schulz, Braunschweig, published by Petersburg Press, London, and Dieter Roth, Solothurn, with full margins, sheet 780 x 960mm (30 3/4 x 37 3/4in) (unframed)
Los 32
δ Marc Chagall (1887-1985)Bucheron and Mercury (Plate 52 from Fables of Fontaine) (Cramer 22)Etching, 1952, signed and inscribed '52' in pencil, from the total edition of 200, on Montval paper, printed by Maurice Potin, published by Tériade Éditeur, Paris, with full margins, sheet 420 x 340mm (16 x 13 3/8in) (unframed)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Los 33
δ Marc Chagall (1887-1985)Death and the Woodsman (Plate Eight from Fables of Fontaine) (Cramer 22)Etching, 1952, signed and inscribed '8' in pencil, from the total edition of 200, on Montval paper, printed by Maurice Potin, published by Tériade Éditeur, Paris, with full margins, sheet 420 x 340mm (16 x 13 3/8in) (unframed)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Los 35
δ Marc Chagall (1887-1985)Dance of Miriam (from Bible) (Cramer Books 30)Etching with hand colouring in watercolours, 1958, initialled and numbered from the edition of 100 in pencil, on Arches wove paper, with margins, 290 x 228mm (11 3/8 x 8 3/4in) (I)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Los 39
δ Salvador Dali (1904-1989)The Stag Reflected in the Water (from La Fontaine's Bestiary Dalinized) (M & L 659; FIeld 74-1-G)Etching with drypoint and pochoir printed in colours, 1974, signed and numbered from the edition of 250 in pencil, on Arches paper, printed by Ateliers Rigal, published by Mouret, Paris, with margins, 580 x 400mm (22 3/4 x 15 3/4in) (PL)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Los 40
δ Salvador Dalí (1904-1989)Portrait of Goya (from Les Caprices de Goya de Dali) (M & L 848b; Field 77-3-80)Etching with pochoir printed in colours, 1977, signed and inscribed 'E.A.' in pencil, one of twenty artist's proofs aside from the edition of 200, on Rives paper, printed by Ateliers Rigal, published by Berggreuen Editions, Paris, sheet 445 x 306mm (17 1/2 x 12in)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Los 49
δ Henri Matisse (1869-1954)Nu Epoque du Chapeau Jaune (Duthuit 220)Etching, 1929, signed and numbered from the edition of 25 in pencil, on Chine applique, with full margins, sheet 248 x 120mm (9 ¾ x 11 ¾in)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Los 55
δ Pablo Picasso (1881-1973)Le Sauvetage de la Noyee I (Bloch 244; Baer 272)Etching, 1932, signed in pencil, a proof aside from the posthumous edition of 40 (with the stamped signature), printed by Frelaut, Paris, with full margins, 196 x 276mm (7 3/4 x 10 3/4in) (PL) (unframed)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Los 66
δ Pablo Picasso (1881-1973)L'abduction (from Séries 156) (Bloch 1419)Etching, 1966, stamp signed (as issued), numbered from the edition of 50 in pencil, on wove paper, published by Galerie Louise Leiris, Paris, 1978, with full margins, sheet 225 x 320mm (8 7/8 x 12 5/8in) (unframed)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Los 84
δ David Hockney (b.1937)Serenade (from The Blue Guitar) (M.C.A. Tokyo 196)Etching with aquatint printed in colours, 1976-77, signed and numbered from the edition of 200 in pencil, on Inveresk mould-made wove paper, published by Petersburg Press, New York, with full margins, sheet 525 x 456mm (20 5/8 x 18in)(unframed)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Los 109
Roy Lichtenstein (1923-1997)Auto Poesie en Cavale de Bloomington (Corlett 268)Etching with aquatint printed in colours, 1992, signed and numbered from the edition of 80 in pencil, as included in La Nouvelle Chute de L'Amerique, on Arches paper, published by Les Editions du Solstice, Paris, with full margins, sheet 375 x 278mm (14 ¾ x 10 15/16in) (unframed)
Los 145
δ Tracey Emin (b.1963)Kate MossPolymer gravure etching, 2006, signed, titled, dated and numbered from the edition of 250 in pencil, on wove paper, the full sheet, sheet 410 x 585mm (16 1/8 x 23in)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Los 165
δ Anish Kapoor (b.1954)Untitled Etching with aquatint printed in colours, 1989, signed and numbered from the edition of 125 in pencil, on wove paper, with full margins, sheet 770 x 689mm (30 1/4 x 27in)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Los 166
δ Anish Kapoor (b.1954)Untitled Etching with aquatint printed in colours, 1989, signed and numbered from the edition of 125 in pencil, on wove paper, with full margins, sheet 768 x 689mm (30 1/4 x 27in)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Los 17
** δ Victor Pasmore (1908-1988)Senza Titolo 2 (Lynton G.53)Etching with aquatint printed in colours, 1988, signed and numbered from the edition of 90 in pencil, on Fabriano paper, printed by Vigna Antoniniana Stamperia d'arte, Rome, published by Marlborough Graphics, Ltd, London/ 2RC Edizioni d'Arte, Rome, with margins, sheet 975 x 1000mm (38 3/8 x 39 3/8in) (unframed)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.** This lot has been imported from outside the EU to be sold at auction under temporary importation, and therefore the buyer must pay the import VAT at a rate of 5%. On proof of export outside the European Union, this duty can be refunded.
Los 549
The Greatest Irish Coloured Plate BookOriginal Coloured CopyMalton (James) A Picturesque and Descriptive View of the City of Dublin Described. In a series of the most Interesting Scenes taken in the year 1791. By James Malton. With a brief authentic history from the earliest accounts to the present time. Engraved titlepage and dedication, Arms of Dublin, A Correct Survey of Dublin as it stood in the year 1610, A Correct Survey of the Bay of Dublin 1795, A Folding Map of the City of Dublin (not present in most copies) and twenty-five plates of views in original colour. London: 1803. Oblong folio. pp. ii, 18, [48], 25 (plates), 3 (maps), 3. Original grey papered boards, spine in later quarter morocco, title printed on original large paper label on upper cover. A very good set of this exceedingly rare topographical work in original colour. James Malton (d.1803) architectural draughtsman, came to Ireland with his father, Thomas Malton, senior, and was for nearly three years, during the building of the Custom House, employed as a draughtsman in the office of James Gandon, the architect, but for breaches of confidence and many irregularities he was dismissed. The first mention of his name as an artist occurs in 1790, when he sent, from Dublin, two drawings to the Society of Artists in London. In 1791 he completed a series of drawings of Dublin buildings, from which the well-known set of views were engraved. Twenty-five were reproduced in etching and aquatint, done by Malton himself, and their publication began in 1792. The preface says: "The entire of the views were taken in 1791 by the author, who, being experienced in the drawing of architecture and perspective, has delineated every object with the utmost accuracy; the dimensions, too, of the structures described were taken by him from the originals, and may be depended upon for their correctness." Though all the views were taken in the year 1791, yet, as the work was in hand till the year 1797, such alterations as occurred in each subject between the taking and publishing of any view of it have been attended to; to the end that it might be as perfect a semblance as possible of the original at the time of the completion of the work.The volume has an engraved title-page, an engraved dedication, dated at London, 1st June, 1794, "to the Lord Mayor, Sheriffs, Common Council, Freemen and Citizens of Dublin." The work begins with a preface, followed by a brief history of Dublin, and an article "On the Castle Walls and Increase of the City." The plates are as follows: Great Courtyard, Dublin Castle; The Parliament House; Trinity College; College Library; Provost's House; St. Patrick's Cathedral; West Front of St. Patrick's Cathedral; Royal Exchange; Custom House; View of the Law Courts, looking up the Liffey; Tholsel; Old Soldiers Hospital, Kilmainham; Royal Infirmary, Phoenix Park; Blue Coat Hospital; Lying-in Hospital; Rotunda New Rooms; St. Catharine's Church; Marine School; Leinster House; Charlemont House; Powerscourt House; View of Capel Street, looking over Essex Bridge; St. Stephen's Green; Barracks; View of Dublin from the Magazine, Phoenix Park. Dedicated to the Governors and Directors of the Hospital, including the College Library, dedicated to Edmund Burke. Besides the above twenty-five views the bound volume contains the Arms of Dublin, as frontispiece; Survey of the City of Dublin as it stood in 1610, taken from Speed's Map; Survey of the Bay of Dublin, 1795, and a folding map of Dublin that does not appear in this or most copies. At the end of the volume is a plate with two outline Keys - one of the smaller View of Dublin from the Park, the other of the smaller view of the Barracks. All the plates are inscribed James Malton del. et fecit. He published them himself; in some his name is joined with George Cowen of Grafton Street, Dublin. Malton's views are the most important series of engravings of Dublin. Most of the principal buildings are represented, and groups of figures and little scenes of the daily life of the people add a charm and variety, the whole forming a valuable pictorial record of old Dublin at the close of the eighteenth century.
Los 209
After Rembrandt Harmenszoon van Rijn, engraving on laid paper 'Three Heads of Women, One Asleep' signed and dated 1637 within the plate, trimmed to the plate, attached to the mount with plastic tape, some foxing 16 cm x 11.5 cm, framed and glazed; plus coloured marine etching 'The Strathmore Spreading Her Wings', and a print of Rydesdale Hall (3)
Los 433
Harold Wyllie (1880-1975) and William Wyllie (1851-1931) Five signed maritime etchings, signed to margin, all depicting fishing boats, schooners at sea, framed and glazed (5)Etching displaying multiple ships (with sails down), rural landscape behind. 23x18cm, signed Harold Wyllie in pencil on the bottom left corner. Heavy discolouration to the paper with several small damp spots.Rowing boats and fisherman. 23x18cm signed W L Wyllie in pencil on the bottom left corner. Discolouration around the edges, small damp spots, paper not flat.Ship in dangerous waters with rowing boats in the foreground. 29x16cm, signed W L Wyllie in pencil on the bottom left corner. Very light scratches on areas of the sky, overall in very good condition.Fishing boats with sails and an industrial shoreline, 24.5x19.5cm. signed W L Wyllie in pencil on the bottom left corner. Slight discolouration across the entire surface, very light scratches to areas of the sky.Multiple rowing boats, sailing boats and steamliners. 23x17cm signed W L Wyllie in pencil on the bottom left corner. Light discolouration and small damp spots.None of the etchings are ripped, torn or show signs of restoration.
Los 439
William Lionel Wyllie, (1851-1931) Two signed etchings, both scenes of London, Westminster and Houses of Parliament from the Thames, framed and glazed (2)Boats before the houses of parliament, 33x11cm, signed W L Wyllie in pencil on the bottom left corner. Two very small damp spots to the sky (hardly noticeable). Otherwise in excellent condition.'Westminster from St Pauls', 36.5x15cm, signed William Lionel Wyllie in pencil on the bottom left corner. Faint discolouration to the top half of the etching, several small spots of damp (mainly to the right of the image). Not lying completely flat.
![Luigi Kasimir (Austrian 1881-1962), etching and colour aquatint of Cologne harbour [dated 7 May 1934 in the block] with Rhein](https://cdn.globalauctionplatform.com/412b694c-bbce-4746-9f89-a82400f6a0bd/df23b6ae-27ee-4767-f4c6-e04f35dbfb72/468x382.jpg)
Los 206
Luigi Kasimir (Austrian 1881-1962), etching and colour aquatint of Cologne harbour [dated 7 May 1934 in the block] with Rheine river barges unloading and steam cruisers, suspension bridge, and Cologne cathedral in the background, signed in pencil to the mount, plate 58 cm x 43 cm, framed and glazed
Los 437
Five Wyllie landscape maritime etchings, titled Norwegian Timber Ships leaving the Thames, one of Plymouth, another of North Foreland and two others, all framed and glazed (5)'Plymouth' 33x8.5cm, signed W L Wyllie in pencil on the bottom left corner. Not lying flatly in frame, light scratch in top right corner (potentially an original part of the etching).'North foreland' 34x11cm signed Harold Wyllie in pencil on the bottom left corner. Heavy discolouration with several small spots of damp (mainly to the left edge). Not lying flat in frame.Multiple yachts 35x8.5cm, signed W L Wyllie in pencil on the bottom left corner. Heavy discolouration to the edges with less substantial discolouration across the main etching, several small damp spots. Appears to have been re-touched with paint on the right side of the etching.Boats at harbour, 30x8.5cm, signed Harold Wyllie in pencil on the bottom left corner. Discolouration across the main plate with several small damp spots.'Norwegian Timber Ships' 33x10.5cm, signed W L Wyllie in pencil on the bottom left corner, also has NICCLXXVIII in pencil on the right corner. Light discolouration with several very small damp spots.No apparent rips or tears to any of the plates.
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78475 Los(e)/Seite