78475 Preisdatenbank Los(e) gefunden, die Ihrer Suche entsprechen

William Lionel Wyllie (British 1851-1931), The Bass Rock, etching, signed lower left, with title label verso, 21.5 x 49.5cm. Framed and glazed. Condition Report: Under glass, paper slightly discoloured.

William Lionel Wyllie (British 1851-1931), Off the Isle of Wight, etching, signed lower left, with title label verso, 21.5 x 49.5cm. Framed and glazed. Condition Report: Under glass, paper slightly discoloured.

William Lionel Wyllie (British 1851-1931), Fisherfolk on the shore, etching, signed in pencil lower left, 29 x 21cm.; together with James Abbott McNeil Whistler (British 1834-1903), Boats in a harbour, etching, 6.5 x 9.5cm.(2) Framed and glazed. Condition Report: Both under glass, Wyllie: slight rippling to paper, slightly discoloured. Whistler: under glass, paper very very slightly discoloured.

William Lionel Wyllie (British 1851-1931), Dumbarton Rock, etching, signed lower left, with title label verso, 29 x 49cm. Framed and glazed. Condition Report: Under glass, paper slightly yellowed, otherwise good appearance.

Florentinischer Meister des ausgehenden 16. Jahrhunderts, aus dem Kreis des Francesco Salviati, 1510 – 1563PORTRAIT EINES MANNES (GIULIO ROMANO?)Öl auf Leinwand. Doubliert.46 x 39 cm.In dekorativem Rahmen.Brustbildnis leicht nach rechts eines Mannes mit leicht bräunlichem Inkarnat, schwarzen Lockenhaaren und einem langen braunen Bart. Wiedergegeben vor grünlichem Hintergrund trägt er ein fast schwarzes Gewand und blickt mit seinen dunkelbraunen Augen eindringlich aus dem Gemälde heraus. Ein fast identisches Portrait eines Mannes, jedoch als Halbportrait, das früher bekannt war als Portrait von Giulio Romano und einem unbekannten italienischen Maler der zweiten Hälfte des 16. Jahrhunderts zugeordnet wird, befindet sich im Louvre unter der Inventarnummer 425;HER 299. Eine weitere, fast identische Portraitdarstellung, die früher ebenfalls Giulio Romano als Dargestelltem zugeschrieben wurde, befindet sich als Radierung und Kupferstich von ca. 1804/15 im Britischen Museum unter der Nummer 1856.0308.720. (1410902) (18)Florentine School, late 16th century,from the circle of Francesco Salviati, 1510 – 1563PORTRAIT OF A GENTLEMAN (GIULIO ROMANO?)Oil on canvas. Relined.46 x 39 cm.An almost identical portrait of a gentleman, but as a half-portrait, which was previously known as a portrait of Giulio Romano and is attributed to an unknown Italian painter of the second half of the 16th century, is held at the Louvre under inventory no. 425;HER 299. Another, almost identical portrait, which was previously also identified Giulio Romano as the sitter, is held at the British Museum as an etching and copperplate engraving dating to ca. 1804/15 under no. 1856.0308.720.

Gerard Dillon (1916-1971) Evening Light Artist's Proof, Etching, 18 x 19cm (7 x 7½'') Signed, inscribed with title and A/P

Roderic O'Conor (1860-1940) Landscape with Trees near an Estuary Etching and drypoint, 19.2 x 27.3cm (7½ x 10½'') Signed and dated (18)'93Original plate sold Hôtel Drouot, Paris 17/11/1975, lot 172, this restrike by Paul Prouté c.1981 Provenance: With Galerie Prouté, Paris Literature: J. Benington, 'Roderic O'Conor', Cat. No. 428, p.236 

George John Pinwell (British, 1842-1875)The Elixir of Love signed and dated 'G J Pinwell/70' (lower left); further signed, titled and inscribed with artist's address 'N1. The Elixir of Love/GJPinwell/52 Adelaide Rd/NW' (on artist label attached to the reverse)watercolour and bodycolour45 x 105.5cm (17 11/16 x 41 9/16in).together with a preparatory watercolour sketch of the same subject (14.5 x 24cm) and an engraving of the subject by Robert Walker Macbeth. (3)Footnotes:ProvenanceErnest Gambart (1814–1902).His sale, Christie's, London, 31 March –1 April 1871, lot 195 (260 guineas to Tooth).Arthur Tooth & Co., London.Thomas Wood, 2 Mandeville Place, London.Ludwig Messel (1847–1915).Sharpley Bainbridge (1845–1921).His sale, Christie's, London, 10 February 1922, lot 88 (640 guineas to Thomas Agnew & Sons).Thomas Agnew & Sons, London.Frost & Reed, London and Bristol.Private collection, UK.ExhibitedLondon, Royal Watercolour Society, 1870. no.114.London, Deschamps Gallery, Exhibition of Works by the Late G. J. Pinwell, 1876, no.70 (lent by Wood).London, Royal Academy of Arts, Winter Exhibition, 1901, no. 124 (lent by Messel).Glasgow, International Exhibition, 1901 no. 1102 (lent by Bainbridge).Literature'Society of Painters in Watercolours, 5 Pall Mall East: Private View', The Era, 24 April 1870, p. 14.'Old Watercolour Society', The Times, 27 April 1870, p. 4.'Fine Arts: The Society of Painters in Watercolours', Illustrated London News, 30 April 1870, p. 458.G. C. Williamson, George J. Pinwell and His Works, London,1900, pp. 20, 40, 58, 66, 150.Donato Esposito, Frederick Walker and the Idyllists, London, 2017, pp. 62, 64, 72–73, 82, 86, 88, 89.The present watercolour was based on a poem, with the same title, about the properties of a love potion offered by an unscrupulous, but convincing, salesman. The first two verses describe its attractive qualities:'Buy,—who'll buy!' In the market-place,Out of the market din and clatter,The quack with his puckered persuasive face,Patters away in the ancient patter.'Buy,—who'll buy!' In this flask I hold,—In this little flask that I tap with my stick,sir,Is the famed infallible Water of Gold,—The One, Original, True Elixir!Set in the distant past, the medieval period judging by the clothes, Pinwell has conjured a throng of needy recipients for such a potion, and a wide variety of figures, in age and status, are depicted in this lively urban scene. Leading up the enthralled group of would-be buyers are a pair of young women who gaze at the mesmeric glass phial before them. One of these females is modelled on the artist's sister-in-law, a favourite model.Pinwell, a leading Idyllist, had begun his career as an illustrator. In 1865 he shifted tack and submitted a watercolour to the Dudley Gallery, London. Based on Oliver Goldsmith's Vicar of Wakefield, it is now in the British Museum, London (inv. PD 1967,1014.131) and was the first of many successful submissions to come. He showed work there for several more years but in 1869 sent his first watercolour to the older, more prestigious and lucrative Royal Watercolour Society. The present work came at an important time for the artist, and 1870 proved to an important year for Pinwell. The year before, on 3 April 1869, he had been elected an associate of the Royal Watercolour Society. His rise in the institution was rapid and by the following year in the wake of the success of The Elixir of Love he was elected a full member.The work was Pinwell's largest watercolour to date and was met with near universal praise. The Illustrated London News noted the 'exquisite sense of beauty and character evinced in all the faces, and the consummately delicate precision of the draughtsmanship.' The critic of The Times thought it displayed many 'uncommon merits qualified by some serious defects' but conceded that it was marked by a 'singular tenderness and beauty.' But the long column inches of The Era were unequivocal in declaring it 'the picture of all pictures.' In conclusion the same critic contended that The Elixir of Love evidenced the 'highest form of art ... and makes us live in a purer and sweeter atmosphere.' The work was one of Pinwell's best-known works and was exhibited several times after his early death. To commemorate the tenth anniversary of his passing in 1875 the dealer Arthur Tooth & Co. commissioned fellow Idyllist Robert Walker Macbeth (1848–1910) to translate the watercolour into a large etching. The print was duly published in 1885.Williamson lists an untraced reduced watercolour version of the present work as 'unfinished' and having once been owned by Edward Dalziel (1817–1905), of the celebrated firm of printmakers and publishers. It measured 11 x 25 inches and was sold at Pinwell's estate sale in 1876 for 31 guineas (to Dalziel), suggesting some level of finish. The Museum of Fine Arts, Boston has a preparatory drawing in graphite for The Elixir of Love (inv. 55.2713), and was one of several such studies for the present work, that had once belonged to the keen Idyllist art collector and bibliophile Harold Hartley (1851–1943).We are grateful to Donato Esposito for compiling this catalogue entry.Saleroom notices:Please note that since the publication of the catalogue, further research indicates that the present lot was not exhibited at The Royal Academy in 1901 and was not in the possession of Ludwig Messel, as stated.For further information on this lot please visit Bonhams.com

Wilhelm Friedrich Kuhnert (German, 1865-1926)Moose on a Swedish moor signed 'Willy.Kuhnert' (lower right), signed and inscribed 'Wilhelm Kuhnert Berlin' and inscribed with the title in German (twice, on two separate pieces of canvas attached to the stretcher)oil on canvas117 x 226.5cm (46 1/16 x 89 3/16in).Footnotes:ProvenancePrivate collection, UK. Unlike many of his contemporaries, Wilhelm Kuhnert often worked directly from nature taking hours to track down his subjects and then sketching the animals in the wild rather than in zoos. He is best known for his striking pictures of lions and tigers, captured in their natural environment and portrayed in all their majesty. After graduating from Berlin University of the Arts in 1887, Kuhnert travelled widely to Scandanavia, Eygpt, East Africa and India. Kuhnert was an outstanding draughtsman and a prodigiously talented artist, equally at ease with a minutely detailed etching as he was working on a monumental scale such as the present lot. His work is characterised by a blend of rapid execution combined with anatomical accuracy - reputedly he never used an eraser on a single drawing, or made any corrections to any of his 137 etching plates. He died in Switzerland in 1926.For further information on this lot please visit Bonhams.com

WILLIAM LIONEL WYLLIE RA RE (BRITISH 1851 - 1931), LANDING OYSTERS, CANCALE etching on paper, signed, titled label versomounted, framed and under glassimage size 19.5cm x 25cm, overall size 43cm x 49cm Label verso: David C. Brown, Glasgow

HERBERT THOMAS DICKSEE RE (BRITISH 1862 - 1942), A WEST HIGHLANDER limited edition etching on paper, signed and numbered 73/150mounted, framed and under glassimage size 23cm x 30cm, overall size 45cm x 54cmNote: Herbert Thomas Dicksee (1862-1942) was an English painter and illustrator, best known for his animal and landscape paintings. He was born in London, England, into a family of artists, and was the younger brother of Sir Frank Dicksee, who was also a famous painter. Herbert Dicksee began his artistic training at the South Kensington School of Art, later studying at the Royal Academy Schools. He exhibited his work at the Royal Academy from 1881 to 1918 and at other major galleries in London and elsewhere in Britain. His paintings often featured animals, particularly dogs, and he was highly regarded for his ability to capture their movement and personality. In addition to his painting career, Dicksee was also a successful illustrator, contributing to books and magazines. He was a member of several prestigious artistic societies, including the Royal Society of British Artists and the Royal Society of Painters in Watercolours. Herbert Thomas Dicksee died in 1942 at the age of 79.

MARIUS ALEXANDER JACQUES BAUER (DUTCH 1867 - 1932), PORCH OF MOSQUE etching on paper, signed, titled label versomounted, framed and under glassimage size 67cm x 56cm, overall size 100cm x 82cmLabel verso: Aitken Dott & Son, Edinburgh

MARIUS ALEXANDER JACQUES BAUER (DUTCH 1867 - 1932), FUNERAL IN CAIRO etching on paper, signed, titled versomounted, framed and under glassimage size 21cm x 27cm, overall size 50cm x 58cm Label verso: Aitken Dott & Son, Edinburgh

SIR DAVID YOUNG CAMERON ARSA RSW RA RSA (SCOTTISH 1865 - 1945), SEIL, FIRTH OF LORNE watercolour on paper, signed, titled label verso mounted, framed and under glass image size 28cm x 48cm, overall size 51cm x 74cm Handwritten label verso. Note: David Young Cameron was one of Scotland’s most prolific and influential artists. He was born in Glasgow, the son of a minister, and in the early 1880s he went to study at Glasgow School of Art. By 1885 he had gained a place at Edinburgh School of Art, where he was encouraged to take up etching because of the strength of his pen drawings. Although he also made many paintings, drawings and watercolors, it was as a printmaker that he initially received the most recognition. Cameron had a rare ability to capturehis subjects with remarkably few lines. During his career he produced over five hundred etching plates, with subjects ranging from atmospheric interiors to dramatic landscapes, as well as detailed studies of buildings and figures.

* GERALD LESLIE BROCKHURST RA (BRITISH 1890 - 1978), THE MIRROR etching on paper, signedmounted, framed and under glassimage size 14.25cm x 10cm, overall size 42cm x 36cmNote: (b Birmingham, 31 Oct. 1890; d Franklin Lakes, NJ, 4 May 1978). British-born painter and etcher who became an American citizen in 1949. Precociously gifted, an excellent draughtsman, and a fine craftsman, Brockhurst won several prizes at the Royal Academy Schools and went on to have a highly successful career as a society portraitist, first in Britain and then in the USA, where he settled in 1939, working in New York and New Jersey. He is best known for his portraits of glamorous women, painted in an eye-catching, dramatically lit, formally posed style similar to that later associated with Annigoni. As an etcher Brockhurst is remembered particularly for Adolescence (1932), a powerful study of a naked girl on the verge of womanhood staring broodingly into a mirror—one of the masterpieces of 20th-century printmaking.

WILLIAM LIONEL WYLLIE RA RE (BRITISH 1851 - 1931), HMS ORION etching on paper, signed, titled label versomounted, framed and under glass ximage size 28cm x 20cm, overall size 52cm x 41cm Label verso: David C. Brown, Glasgow

GEORGE HOUSTON RSA RSW (SCOTTISH 1869 - 1947), colour etching on paper, signedmounted, framed and under glassimage size 18cm x 25cm, overall size 33cm x 40cm

HENRY ROBERTSON WATT (CANADIAN 1896 - 1964), PORTRAIT OF AN ELEGANT WOMAN pastel on paper, signed and dated 1932mounted, framed and under glass image size 28cm x 22cm, overall size 48cm x 40cm Note: Renowned as a talented portrait painter, Robin Watt ( Henry Robertson) was born in Victoria, British Columbia and studied at the Royal Military Academy in Sandhurst, England. During World War I, he served as an officer with the Green Howard Regiment, was wounded in battle and decorated with the Military Cross, and the Croix de Guerre. After the war, he studied for three years at the Slade School of Art, London, with Henry Tonks, Walter Russell, and William Steer; at the St. Martin's School of Art and at the Central School of Art where he learned etching under W.P. Robins. Later, he continued his studies at the Académie Colorossi in Paris and the British School of Art in Rome. An admirer of Augustus John and Edgar Dégas, he worked in oil, watercolour and charcoal, favouring a realist approach, producing portraits, still lifes, and in his later years abstract works. By the late 1920s, he returned to Canada and settled in Montréal. Around 1932, he returned to England, where he worked for an unknown period with his wife Dodie Watt, as an art teacher in a boy's school. Upon his return to Canada in 1949, he was immediately recognized as a fine portraitist and in the same year, invited to paint the portrait of Earl Wavell, Colonel of The Black Watch (Royal Highland Regiment) on the occasion of his visit to Canada. In 1951, the Montréal Museum of Fine Arts held a solo exhibition of Watt's portraits and still lifes that art critic Robert Ayre recommended they call "Faces and Flowers".

WILLIAM WALCOT RBA RE (SCOTTISH 1874 - 1943), FORUM OF MINERVA etching on paper, signed, titled label versomounted, framed and under glass image size 25cm x 29cm, overall size 48cm x 58cm Label verso: James Connell & Sons, Glasgow

* ELYSE ASHE LORD RI (BRITISH 1900 - 1971), UNKNOWN limited edition hand coloured etching on paper, signed and numbered 57/100 mounted, framed and under glass image size 28cm x 23cm, overall size 39cm x 32cm Note: Elyse Ashe Lord was a watercolourist and drypoint etcher who favoured exotic and Far Eastern figure subjects, often treated in delicate or imaginative colours. Little is known about her early life although she held her first important solo exhibition of 70 drawings at the Brook Street Gallery in 1921 and in the following year was elected a member of the Royal Institute of Painters in Water Colours. She was also a member of the Society of Graver-Printers in Colour. She exhibited actively from 1915 to 1939, showing at the Royal Academy, Royal Institute of Painters in Water Colours, Royal Scottish Academy, Walker Art Gallery, Liverpool, Fine Art Society, Lefevre Gallery and at the Paris Salon, where she gained a silver medal for colour prints. Alexander Reid issued much of her work in book illustrations including 'The Arabian Nights'. In 1990 Cyril Gerber Fine Art held an exhibition of her work. She lived in Bexley, Kent. Her work is represented in the collections of the British Museum and Victoria & Albert Museum.

* ELYSE ASHE LORD (BRITISH 1900 - 1971), UNKNOWN limited edition hand coloured etching on paper, signed and numbered 47/100mounted, framed and under glassimage size 28cm x 23cm, overall size 38cm x 31cm Note: Elyse Ashe Lord was a watercolourist and drypoint etcher who favoured exotic and Far Eastern figure subjects, often treated in delicate or imaginative colours. Little is known about her early life although she held her first important solo exhibition of 70 drawings at the Brook Street Gallery in 1921 and in the following year was elected a member of the Royal Institute of Painters in Water Colours. She was also a member of the Society of Graver-Printers in Colour. She exhibited actively from 1915 to 1939, showing at the Royal Academy, Royal Institute of Painters in Water Colours, Royal Scottish Academy, Walker Art Gallery, Liverpool, Fine Art Society, Lefevre Gallery and at the Paris Salon, where she gained a silver medal for colour prints. Alexander Reid issued much of her work in book illustrations including 'The Arabian Nights'. In 1990 Cyril Gerber Fine Art held an exhibition of her work. She lived in Bexley, Kent. Her work is represented in the collections of the British Museum and Victoria & Albert Museum.

ERNEST STEPHEN LUMSDEN RSA RE (British, 1883-1948) The Cowgate Edinburgh Etching, signed in pencil, 22cm x 15cm, frame 51cm x 37cm.

KATHERINE (KATE) CAMERON RSW ARE (Scottish, 1874-1965) *ARR* Butterflies Etching, signed and dated to the plate 1921, signed lower left, 48cm x 17cm, frame 78cm x 41cm.

ANDRES LEONARD ZORN (Swedish, 1860-1920) Dalriver Etching, signed in pencil lower right, dated to plate 1919, 18cm x 11cm, frame 50cm x 36cm. Label verso 'Taylor & Brown Fine Art Dealers Edinburgh'.

JOHN RANKINE BARCLAY (Scottish, 1884-1962) *ARR* Sand Etching, signed and dated 1922 to the plate, signed in pencil lower left, 20cm x 25cm, frame 52cm x 46cm.

HERBERT THOMAS DICKSEE (British, 1862-1942) Head of a lion - His Royal Highness Etching, signed with initials HD to the plate lower right, 24cm x 18.5cm, frame 47cm x 39cm.

GEORGE HOUSTON RSA RSW RI (Scottish, 1869-1947) Untitled - road by a loch Watercolour, signed lower right, 17cm x 24cm, frame 37cm x 43cm, and a coloured etching. (2)

Kings Lynn watercolours/etchings, vintage photographs, Bury St Edmunds Abbey Gate etching, other local pictures/etchings etc

An 1800's etching, silver necklaces, brush and cig case set and 3 pin badges inc 1960s Butlins

William Tatton Winter RBA (1855-1928) - "A Windy Day", etching signed, titled label to verso, signed in margin 32 x 43cm. Good condition, fresh colouring

A VINTAGE GREEK BRASS COFFEE GRINDER WITH ORNATE FLOWER AND GRAPE ETCHING

Hayter, Stanley William: (1901 London - 1988 Paris). Flight. Weichgrundätzung mit Kaltnadel auf Kochi Japan. NY, Wittenborn & Co. (19)44. Plgr. ca. 37,5 x 24,8 cm. Blgr. 58 x 46 cm. Sign., num. u. betitelt. - Ex. 22 v. 30. - Vor allem außerhalb der Darstellung fl., Druckspuren auf weißem Rand, tls. Knickspuren am Rand, li. unten kl. Quetschfalte. Verso Reste v. Klebestreifen. Black-Moorhead 159 - Prov. Aus einer Schweizer Privatsammlung. - Engraving, soft-ground etching and scorper, (19)44, on wove paper, signed and dated in pencil, numbered 22/30, published by George Wittenborn, New York. R

Hamerton,P.G.: Etching & Etchers. London, Macmillan 1868. Gr.8°. Mit 35 Orig.-Radierungen von und nach Appian, Callot, Daubigny, Delatre, Dujardin, Haden, Hamerton, Jongkind, Lalanne, Palmer, Rembrandt, Waterloo, etc. XXVI, 354 S. Olwd. (Etwas berieben) mit ledernem, goldgeprägtem RSchild (dieses mit Schabspuren) VDeckeltitel sowie mit Ganzgoldschnitt. London, Macmillan, 1868. Seltene erste Ausgabe dieses wichtigen Werkes zur Geschichte der Radierkunst, verfast von dem englischen Maler-Radierer und Kunstkritiker Philip Gilbert Hamerton (1834-1891). Mit einer typographischen Widmung an Seymour Haden. Enthält u. a. folgende Original-Radierungen: A. Appian "Environs de Rix" (Curtis-Proute1 13, III/IV); Ch.-Fr. Daubigny "Le Bateau-Atelier" (Delteil 111, II); S. Haden, "Bit of River Bank" (Harrington 116, II); J.-B. Jongkind, "Moulins en Holland" (Delteil 14, I/II); S. Palmer, "The early Ploughman" (Lister 9, V/IX); ╔Rembrandt, "Die drei Orientalen" (Seidlitz 118, II).╗ - Papierbedingt durchgehend etwas vergilbt; Innengelenk angeplatzt.

Rembrandt, Harmensz van Rijn: (1606 Leiden - Amsterdam 1669). Studienblatt mit Saskia und fünf anderen Frauenköpfen. Radierung, 1636. Blgr. ca. 15,2 x 12,8 cm. Mit d. Namenzug u. Datum in d. Platte unten. B. u. Seidlitz 365. Björklund BB 36-B Modern, mit den zwei Glitschern zwischen dem Turban der Frau oben links und der Haare der Saskia. Auf Bütten mit WZ-Fragment Wappenschild (mit Lilie?), unten WR u. darunter HG. Mit nicht identifiziertem Stemp. verso wie Lugt 3102 (untersch. Durchm.). - Alle 4 Ecken angesetzt u. dort tls. Dünnstellen. Tls. etw. angest. u. tls. schwach fleckig. - Study sheet with Saskia and 5 other female heads. Etching on laid paper. - Minimally foxed. D

POL BURY (1922-2005) Dix triangles sont un cercle, 1979 Eau-forte. Signée et numérotée 55/75Ets. Getekend en genummerd 55/75Etching. Signed and numbered 55/7565 x 50 cm FramedFootnotes:Provenance: Private CollectionThis lot is subject to the following lot symbols: ARAR Un pourcentage supplémentaire sera demander aux acquéreurs pour les lots précédés du symbole AR correspondant aux droits de suite aux artistes en vertu de la réglementation de 2006 sur le droit d'auteur. Veuillez vous référer aux conditions de ventes pour plus de détails.De koper is ons een extra premie verschuldigd ter dekking van onze kosten in verband met de betaling van royalty's krachtens de Artists Resale Right Regulations 2006. Zie onze algemene voorwaarden voor meer informatie.An Additional Premium will be payable to us by the Buyer to cover our Expenses relating to payment of royalties under the Artists Resale Right Regulations 2006. See our terms and conditions for further details.For further information on this lot please visit Bonhams.com

FRED BERVOETS (born 1942)De Graal, 1985 Eau-forte rehaussée de peinture acrylique. Signée, titrée, située 'Dendermonde' et datée au dosEts verhoogd met acrylverf. Getekend, getiteld, gelokaliseerd 'Dendermonde' en gedateerd op de achterkantEtching enhanced with acrylic paint. Signed, titled, located and dated on the back77.4 x 62.8 cmFootnotes:Provenance:Private CollectionThis lot is subject to the following lot symbols: ARAR Un pourcentage supplémentaire sera demander aux acquéreurs pour les lots précédés du symbole AR correspondant aux droits de suite aux artistes en vertu de la réglementation de 2006 sur le droit d'auteur. Veuillez vous référer aux conditions de ventes pour plus de détails.De koper is ons een extra premie verschuldigd ter dekking van onze kosten in verband met de betaling van royalty's krachtens de Artists Resale Right Regulations 2006. Zie onze algemene voorwaarden voor meer informatie.An Additional Premium will be payable to us by the Buyer to cover our Expenses relating to payment of royalties under the Artists Resale Right Regulations 2006. See our terms and conditions for further details.For further information on this lot please visit Bonhams.com

FELICIEN ROPS (1833-1898)Impudence Eau-forte et aquatinte couleur. Monogrammée dans la planche. Titrée. Cachet Georges Pellet éditeurKleurets en aquatint. Met monogram in de plaat. Getiteld. Gestempeld Georges Pellet uitgeverColour etching and aquatint. Monogrammed in the plate. Titled. Stamped Georges Pellet publisher 26.8 x 17.6 cm (plate) 46.2 x 32 cm (sheet)Footnotes:Provenance:Salon Antica Namur, BelgiumFor further information on this lot please visit Bonhams.com

FELICIEN ROPS (1833-1898)Incantation réhaussée Eau-forte en couleur. Signée dans la planche et numérotée 134/200. Cachet Georges Pellet éditeurEts in kleuren. Getekend in de plaat en genummerd 134/200. Gestempeld als uitgever Georges PelletEtching in colours. Signed in the plate and numbered 134/200. Stamped Georges Pellet publisher42.5 x 27.5 cm (plate) 51 x 32.5 cm (sheet)Footnotes:ProvenanceSalon Antica Namur, BelgiumBabut du MarèsFor further information on this lot please visit Bonhams.com

LUCIO FONTANA (1899-1968) Nudo Rosa, 1967 Aquatinte, eau-forte et embossage. Signée et numérotée 134/170. Timbre sec 2RC, Roma Aquatint, ets en reliëf. Getekend en genummerd 134/170. 2RC droogstempel, RomaAquatint, etching and embossing. Signed and numbered 134/170. 2RC dry stamp, Roma62.5 x 47.5 cm (visible sheet)FramedFootnotes:[H.Ruhé C.Rigo E-37]Provenance: Private CollectionThis lot is subject to the following lot symbols: ARAR Un pourcentage supplémentaire sera demander aux acquéreurs pour les lots précédés du symbole AR correspondant aux droits de suite aux artistes en vertu de la réglementation de 2006 sur le droit d'auteur. Veuillez vous référer aux conditions de ventes pour plus de détails.De koper is ons een extra premie verschuldigd ter dekking van onze kosten in verband met de betaling van royalty's krachtens de Artists Resale Right Regulations 2006. Zie onze algemene voorwaarden voor meer informatie.An Additional Premium will be payable to us by the Buyer to cover our Expenses relating to payment of royalties under the Artists Resale Right Regulations 2006. See our terms and conditions for further details.For further information on this lot please visit Bonhams.com

SALVADOR DALÍ (1904-1989)Asher from les 12 tribus d'Israël, 1973 Eau-forte en couleur. Signée et numérotée 14/195. Ed. Transworld Art, New YorkKleurets. Getekend en genummerd 14/195. Ed. Transworld Art, New YorkColour etching. Signed and numbered 14/195. Ed. Transworld Art, New York65 × 50 cm FramedFootnotes:(Field 72-6D; M&L 626)This lot is subject to the following lot symbols: ARAR Un pourcentage supplémentaire sera demander aux acquéreurs pour les lots précédés du symbole AR correspondant aux droits de suite aux artistes en vertu de la réglementation de 2006 sur le droit d'auteur. Veuillez vous référer aux conditions de ventes pour plus de détails.De koper is ons een extra premie verschuldigd ter dekking van onze kosten in verband met de betaling van royalty's krachtens de Artists Resale Right Regulations 2006. Zie onze algemene voorwaarden voor meer informatie.An Additional Premium will be payable to us by the Buyer to cover our Expenses relating to payment of royalties under the Artists Resale Right Regulations 2006. See our terms and conditions for further details.For further information on this lot please visit Bonhams.com

JEAN-MICHEL FOLON (1934-2005) La strada, 1981 Eau-forte et aquatinte. Signée et numérotée 76/360. Signée dans la planche Paris Juin 1981Ets en aquatint. Getekend en genummerd 76/360. Gesigneerd in de plaat Parijs juni 1981Etching and aquatint. Signed and numbered 76/360. Signed in the plate Paris June 198169.5 x 50 (sheet) 54.5 x 39.8 (image)This lot is subject to the following lot symbols: ARAR Un pourcentage supplémentaire sera demander aux acquéreurs pour les lots précédés du symbole AR correspondant aux droits de suite aux artistes en vertu de la réglementation de 2006 sur le droit d'auteur. Veuillez vous référer aux conditions de ventes pour plus de détails.De koper is ons een extra premie verschuldigd ter dekking van onze kosten in verband met de betaling van royalty's krachtens de Artists Resale Right Regulations 2006. Zie onze algemene voorwaarden voor meer informatie.An Additional Premium will be payable to us by the Buyer to cover our Expenses relating to payment of royalties under the Artists Resale Right Regulations 2006. See our terms and conditions for further details.For further information on this lot please visit Bonhams.com

BERNARD BUFFET (1928-1999) Le Clown, 1986 (after) Eau-forte en couleur. Signée et numérotée 215/275. Ed. Magui, France. Gravée sous la direction de P.B Spalaïkovitch, imprimée à l'atelier Magui. Copyright Maurice Garnier. Gravure d'interprétationKleurets. Getekend en genummerd 215/275. Magui, Frankrijk. Gegraveerd onder leiding van P.B Spalaïkovitch, gedrukt in het atelier van Magui. Copyright Maurice Garnier. Interpretatieve gravureColour etching. Signed and numbered 215/275. Magui, France. Engraved under the direction of P.B Spalaïkovitch, printed at the Magui workshop. Copyright Maurice Garnier. Interpretative engraving.49 x 40.5 cm (plate) 56.5 x 44.5 cm (visible sheet)FramedThis lot is subject to the following lot symbols: ARAR Un pourcentage supplémentaire sera demander aux acquéreurs pour les lots précédés du symbole AR correspondant aux droits de suite aux artistes en vertu de la réglementation de 2006 sur le droit d'auteur. Veuillez vous référer aux conditions de ventes pour plus de détails.De koper is ons een extra premie verschuldigd ter dekking van onze kosten in verband met de betaling van royalty's krachtens de Artists Resale Right Regulations 2006. Zie onze algemene voorwaarden voor meer informatie.An Additional Premium will be payable to us by the Buyer to cover our Expenses relating to payment of royalties under the Artists Resale Right Regulations 2006. See our terms and conditions for further details.For further information on this lot please visit Bonhams.com

JOAN MIRÓ (1893-1983) D'après Carte de voeux, 1963 Eau-forte originale. Signée dans la planche. Justifiée au dos. Galerie Adrien Maeght. Originele ets. Getekend in de plaat. Gegrond op de achterkant. Galerie Adrien Maeght. Original etching. Signed in the plate. Justified on the back. Adrien Maeght Gallery15 x 20.5 cm (sheet)FramedThis lot is subject to the following lot symbols: ARAR Un pourcentage supplémentaire sera demander aux acquéreurs pour les lots précédés du symbole AR correspondant aux droits de suite aux artistes en vertu de la réglementation de 2006 sur le droit d'auteur. Veuillez vous référer aux conditions de ventes pour plus de détails.De koper is ons een extra premie verschuldigd ter dekking van onze kosten in verband met de betaling van royalty's krachtens de Artists Resale Right Regulations 2006. Zie onze algemene voorwaarden voor meer informatie.An Additional Premium will be payable to us by the Buyer to cover our Expenses relating to payment of royalties under the Artists Resale Right Regulations 2006. See our terms and conditions for further details.For further information on this lot please visit Bonhams.com

JEAN-MICHEL FOLON (1934-2005)Arbre de vie, 1976 Eau-forte et auquatinte. Signée et numérotée 51/99Ets en auquatint. Getekend en genummerd 51/99Etching and auquatint. Signed and numbered 51/9942.5 x 33 cm (image) 66 x 50 cm (sheet)This lot is subject to the following lot symbols: ARAR Un pourcentage supplémentaire sera demander aux acquéreurs pour les lots précédés du symbole AR correspondant aux droits de suite aux artistes en vertu de la réglementation de 2006 sur le droit d'auteur. Veuillez vous référer aux conditions de ventes pour plus de détails.De koper is ons een extra premie verschuldigd ter dekking van onze kosten in verband met de betaling van royalty's krachtens de Artists Resale Right Regulations 2006. Zie onze algemene voorwaarden voor meer informatie.An Additional Premium will be payable to us by the Buyer to cover our Expenses relating to payment of royalties under the Artists Resale Right Regulations 2006. See our terms and conditions for further details.For further information on this lot please visit Bonhams.com

POL BURY (1922-2005) Dix-huit carrés Eau-forte. Signée et numérotée 25/75. Timbre secEts. Getekend en genummerd 25/75. Droog stempelEtching. Signed and numbered 25/75. Dry stamp 74.5 x 76.5 cm (visible sheet)FramedFootnotes:Provenance: Private CollectionThis lot is subject to the following lot symbols: ARAR Un pourcentage supplémentaire sera demander aux acquéreurs pour les lots précédés du symbole AR correspondant aux droits de suite aux artistes en vertu de la réglementation de 2006 sur le droit d'auteur. Veuillez vous référer aux conditions de ventes pour plus de détails.De koper is ons een extra premie verschuldigd ter dekking van onze kosten in verband met de betaling van royalty's krachtens de Artists Resale Right Regulations 2006. Zie onze algemene voorwaarden voor meer informatie.An Additional Premium will be payable to us by the Buyer to cover our Expenses relating to payment of royalties under the Artists Resale Right Regulations 2006. See our terms and conditions for further details.For further information on this lot please visit Bonhams.com

SALVADOR DALÍ (1904-1989) Rapt d'Europe par Zeus Eau-forte en couleur. Signée et numérotée 85/150Kleurets. Getekend en genummerd 85/150Colour etching. Signed and numbered 85/15039 x 57 cm (image) 49 x 63 cm (sheet)FramedThis lot is subject to the following lot symbols: ARAR Un pourcentage supplémentaire sera demander aux acquéreurs pour les lots précédés du symbole AR correspondant aux droits de suite aux artistes en vertu de la réglementation de 2006 sur le droit d'auteur. Veuillez vous référer aux conditions de ventes pour plus de détails.De koper is ons een extra premie verschuldigd ter dekking van onze kosten in verband met de betaling van royalty's krachtens de Artists Resale Right Regulations 2006. Zie onze algemene voorwaarden voor meer informatie.An Additional Premium will be payable to us by the Buyer to cover our Expenses relating to payment of royalties under the Artists Resale Right Regulations 2006. See our terms and conditions for further details.For further information on this lot please visit Bonhams.com

DAVIS BETTE: (1908-1989) American actress, Academy Award winner. A.L.S., Bette, four pages, 8vo, New York City, n.d., to Stanley Woodward. Davis writes a largely social letter to her friend, explaining that a mutual acquaintance had seen Woodward recently, ´and that means only one thing, that you´re back from your trip - and looking very beaming - so I surmise you had a very jolly time - for a change´, further stating ´You asked me if I´d write you and remind you about the etching for Marie - and so I am.....its such a grand idea for a wedding present - So any time you have a little extra time - just send it along and I´ll have it framed, and Marie will have a present from the Davis´s and Woodwards, mostly the Woodwards´, also enquiring as to how Woodward´s family are, before concluding by remarking ´Can´t wait to get back to Newton and see you all again . it certainly was grand to see you for as short a time as I did´. Some very light, extremely minimal age wear, VGStanley Woodward (1890-1970) American artist, a lifelong friend of Bette Davis. The actress had been a neighbour to Woodward and his wife in Newton, Massachusetts, since 1926, shortly after Davis had graduated from high school.

Anthony Dawson, (Contemporary), signed limited edition hand coloured etching - Aldeburgh Shore, 40/80, dated '96, 11.5cm x 14.5cm, in glazed frame

*Richard Bawden (1936-2024) signed etching - 'Winter Evening', 16/85, inscribed in pencil, 41.5cm x 55cm, in glazed frame

*Richard Bawden (1936-2024) signed limited edition etching and aquatint - 'East Green, Southwold', 10/85, inscribed in pencil, 34.5cm x 46.5cm, in glazed frameVery good condition, ready to hang.

After Rembrandt van Rijn (1606-1669), etching of Jan Cornelis Sylvius, plate 17 x 14cm, probably 19th century

John O'Conner (1913-2004) colour etching - seated girl with basket in countryside, 33cm x 28cm, in glazed frame

*Sally McLaren (b.1936) limited edition etching - Blue Moon, signed and numbered 6/100, in glazed frame

*Valerie Thornton (1931-1991) signed artist's proof etching - 'Maryport', 1974, signed, 43cm x 51cm, in glazed gilt frame

*Julian Trevelyan (1910-1988) signed etching - Leningrad, Artist's Proof, 49cm x 39cm, in glazed frame

Peter Partington (b.1941) signed coloured etching - Snipe, 11.5cm x 16cm, in glazed frame.Provenance: the artist's studio

*Jean Sturgis (1931-2018) etching - The Fellside in Winter, Kentmere, signed and dated ‘96, 5/30, 25cm x 20cm, in glazed frame

*Richard Bawden (1936-2024) etching and aquatint - 'Blackbird', 3/100, inscribed in pencil, 50cm, x 40cm, in glazed frame

*Valerie Thornton (1931–1991) etching of a church, signed and dated 1971, artist's proof, 39cm x 39cm, in glazed frame

Group of contemporary East Anglian pictures including Belinda King limited edition silkscreen, 'Footpath Through a Barley Field', Keith Thickett drawing, Sally Levell linocut, 'Back of St Botolph's St, Colchester', Angela Hammond pencil drawing of Dedham Church, Chris Sinclair etching, Reeds, Walberswick and other works, each framed and glazed (7)