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Click here to subscribeDame Laura Knight R.A. (1877-1970) Seated girl in contemplation Signed and numbered 18/40 Etching 24.5 x 34.5cm; 9¾ x 13½in++Good condition* All lots marked with an asterisk are subject to VAT on the hammer price.‡ All marked lots may be subject to Droit de Suite / Artist`s Resale Right.For details please see www.woolleyandwallis.co.uk department page.All condition reports are a guide only and should be used as such.
Cecil Charles Windsor Aldin (1870-1935) A Bunch of Mischief Signed numbered 115/150 and titled verso Etching 17.5 x 12.5cm; 7 x 5in++Good condition* All lots marked with an asterisk are subject to VAT on the hammer price.‡ All marked lots may be subject to Droit de Suite / Artist`s Resale Right.For details please see www.woolleyandwallis.co.uk department page.All condition reports are a guide only and should be used as such.
Tsuguharu Foujita (Japanese 1886-1968) Jeune Fille à la Rose Etching 23 x 17cm; 9 x 6¾in++A few minor spots of foxing otherwise good* All lots marked with an asterisk are subject to VAT on the hammer price.‡ All marked lots may be subject to Droit de Suite / Artist`s Resale Right.For details please see www.woolleyandwallis.co.uk department page.All condition reports are a guide only and should be used as such.
Tsuguharu Foujita (Japanese 1886-1968) Geisha Girls Signed in the plate Etching 19 x 14cm; 7½ x 5½in++Good condition* All lots marked with an asterisk are subject to VAT on the hammer price.‡ All marked lots may be subject to Droit de Suite / Artist`s Resale Right.For details please see www.woolleyandwallis.co.uk department page.All condition reports are a guide only and should be used as such.
Stefano della Bella (1610-1664) Autre Fuite en Egypte: dans un rond (De Vesme 13) etching, 1662, watermark Three Crescents, a very good impression of the second, final state, printing without lavis but with some wiping scratches, trimmed to or inside the square platemark in places, in excellent condition; with Le Matelot debout s'entretenant avec un Levantin assis (de V. 200), etching, 1660, watermark initials CR, very good impression of the first state (of two), printing with lavis and wiping marks, with wide margins, a small tear in the upper margin P., S. 213 x 215 mm. View on Christie's.com
Stefano della Bella (1610-1664) Le Pont Neuf, à Paris (De Vesme 850) etching, 1646, unidentified watermark, a very good impression of the first state (of two), before the cock on the bell tower, with margins, with several vertical folds, partly broken, backed and restored, some other minor defects P. 357 x 680 mm., S. 370 x 694 mm. View on Christie's.com
Bartolomeo Biscaino (1629-1657) Moses rescued from the Nile (Bartsch 2) etching, circa 1650, a very good impression of the second state (of eight), trimmed outside the platemark; together with three other etchings by the same hand, The Nativity (oval) (B. 5), a worn impression, with thread margins; The Nativity with Angels (B. 7), seventh state of eight, with thread margins; and Saint Jerome in the Wilderness (B. 34), a good impression, the text margin trimmed off, small margins on three sides, in very good condition; with Sebastien Bourdon, The Annunciation P., S. 157 x 235 mm. (5) View on Christie's.com
Jacques Callot (1592-1635) La Grande Chasse (Lieure 353) etching, 1619, a good impression of the first state (of four), trimmed on or to the platemark but retaining a fillet of blank paper outside the borderline, the lower left corner made up, three vertical folds mainly visible recto, with a few short, associated repaired tears, some other minor defects, otherwise generally in good condition P., S. 198 x 467 mm. View on Christie's.com
Antonio Canal, called Canaletto (1697-1768) The House with the Inscription: left half of the undivided plate (Bromberg 12) etching, 1741, Crescent watermark, a good impression of the only state, with thread margins, remains of old tape to top corners recto, a nick to the top left corner and a short tear at the lower left corner, other minor defects, otherwise in generally good condition P. 298 x 217 mm., S. 303 x 222 mm. View on Christie's.com
Lodovico Carracci (1555-1619) Madonna and Child with Angels (Bartsch 2; Bohlin 3) etching, circa 1595-1610, on laid paper without watermark, first state (of three), with thread margins, remains of red wax to all four corners verso, a skilful repaired tear at the lower sheet edge, otherwise in good condition P.160 x 114 mm., S. 162 x 116 mm. View on Christie's.com
Heinrich Göding the Elder (1531-1606) Martin Luther as 'Junker Jörg' (Hollstein 9) etching, 1598, very rare, a marriage of two impressions, joined horizontally just below his knees, printing with much tone and wiping marks, trimmed to the subject, the lower left corner made up; together with Taurus (Holl. 124), a reversed copy after Jost Amman P., S. 265 x 185 mm. (and smaller) (2) View on Christie's.com
Peter Gottlandt (active 1548-1572) Allegory: The Christ Child defeating the Catholic Church (Hollstein 6) etching with engraving, 1552, a fine, strong impression of this rare print, trimmed to or just inside the platemark in places, some minor staining, in very good condition P., S. 143 x 196 mm. View on Christie's.com
Hendrik Goudt (1585-1630) after Adam Elsheimer (1578-1610) Jupiter and Mercury in the House of Philemon and Baucis (Bartsch, Hollstein 6) etching and engraving, 1612, on laid paper, watermark Strasbourg Lily, a good impression of the second, final state, with narrow margins, remains of old backing sheet and paper hinges at the sheet edges verso, generally in very good condition; with Ceres seeking her Daughter (B., Holl. 5) by the same hand, etching and engraving, 1610, on laid paper, unidentified Shield watermark, a slightly later impression, showing some wear, trimmed into the platemark but retaining a narrow fillet of blank paper outside the subject, a tiny brown spot in the flame at lower right, a small paper disturbance just below the old woman's chin, a few flattened hard creases mainly visible verso, various stains and some off-setting on the reverse, generally in good condition P., S. 314 x 240 mm. (2) View on Christie's.com
Jean-Pierre Norblin de la Gourdaine (1745-1830) The King of Bohemia (Hillemacher 12) etching, 1777, on thin laid Japan paper, a fine impression of this rare print, the largest by the artist, with margins, two short tears at top sheet edge, a repaired tear at the lower sheet edge, otherwise in good condition P. 419 x 300 mm., S. 428 x 308 mm. View on Christie's.com
Francisco de Goya Y Lucientes (1746-1828) A group of 15 plates from: Los Caprichos (Harris, 36, 43, 45, 46, 60, 62, 80, 83, 88, 90, 93, 95, 107, 108, 109, 113) including four earlier impressions on stiff wove, 11 late impressions; with two late impressions from Tauromaquia, on Arches paper, in various conditions; and Bailando en una cuerda floja (Harris 267), from the additional plates of Los Proverbios, etching, aquatint and drypoint, from the edition published in L'Art, Paris, 1877, with wide margins, light stained S. 290 x 424 mm. (overall) (16) View on Christie's.com
Francisco de Goya y Lucientes (1746-1828) No te escaparás, plate 72 from: Los Caprichos (Harris 107) etching with burnished aquatint, 1799, on laid paper without watermark, a fine impression printed in warm sepia retaining the delicate burnished highlights, from the First Edition, with margins, with several small binding defects at the left sheet edge, some pale stains and surface dirt in the margins, two short tears at the lower sheet edge, otherwise in good condition P. 212 x 202 mm., S. 303 x 203 mm. View on Christie's.com
Angelika Kauffmann (1741-1807) Girl braiding her Hair (Nagler 22; Gerard 20; Andresen 26) etching, 1765, a fine impression of Andresen's first state (of two), before the aquatint and date of publication, rare, watermark Auvergne Dupuy, probably the full sheet, with very wide margins and sharp plate edges, time staining and occasional foxing in the margins, otherwise in good condition P. 221 x 165 mm., S. 435 x 295 mm. View on Christie's.com
Angelika Kauffmann (1741-1807) Pensive Girl, sitting (Nagler, Gerard 21; Andresen 26) etching, 1766, a fine impression of the first state (of two), before the addition of aquatint and before some of the text was erased, very rare, watermark Dupuy Auvergne (fragment), trimmed on or into the platemark, some minor staining, otherwise in good condition P., S. 214 x 166 mm. View on Christie's.com
Carlo Maratti (1625-1713) The Holy Family with Angels (Bartsch 4) etching, circa 1650, a fine impression of the rare first state (of three), with delicate platetone and wiping marks, with the full square platemark and small margins, in very good condition P. 174 x 130 mm., S. 179 x 136 mm. View on Christie's.com
Adriaen van Ostade (1610-1685) The Painter (Bartsch 32) etching, circa 1667, tenth, final state, trimmed into the platemark, some minor foxing, otherwise in good condition, framed; together with four other etchings by the same hand: The Anglers (B. 26), Saying Grace (B. 34), The Hunchbacked Fiddler (B. 44) and The Family (B. 46), all final states, on various papers, all with margins and in apparently good condition, unexamined out of their frames P., S. 230 x 172 mm. (and smaller) (5) View on Christie's.com
Adriaen van Ostade (1610-1685) The Fiddler and the Hurdy-Gurdy Boy (Bartsch, Godefroy 45) etching, circa 1660, a good impression of the sixth, final state, with small margins, in very good condition; together with The Two Gossips (B., G. 40), by the same hand, etching, circa 1642, a good impression of the fourth state (of five), with thread margins, in very good condition; with a photogravure of The Hunchbacked Fiddler (cf. B., G. 44) P. 156 x 131 mm., S. 160 x 135 mm. (3) View on Christie's.com
Rembrandt Harmensz. van Rijn (1606-1669) Abraham and Isaac (Bartsch, Hollstein 34; Hind 214) etching, 1645, watermark Hare (Hinterding A-a), a very goodlife time impression, still printing with burr on Isaac's dress, trimmed to the borderline, a few short tears at top centre, left and right, the tears backed with adhesive tape, with associated staining at top P., S. 158 x 130 mm. View on Christie's.com
Rembrandt Harmensz. van Rijn (1606-1669) Joseph's Coat brought to Jacob (Bartsch, Hollstein 38; Hind 104) etching with drypoint, circa 1633, a late impression of the second, final state, reworked and worn, with small margins, generally in good condition P. 106 x 80 mm., S. 111 x 85 mm. View on Christie's.com
Rembrandt Harmensz van. Rijn (1606-1669) The Flight into Egypt: Crossing a Brook (Bartsch, Hollstein 55; Hind 276) etching and drypoint, 1654, a later impression of the only state, with narrow margins, laid down onto card with resultant staining P. 95 x 145 mm., S. 100 x 147 mm. View on Christie's.com
Rembrandt Harmensz. van Rijn (1606-1669) The Rest on the Flight into Egypt: lightly etched (Bartsch, Hollstein 58; Hind 216) etching, 1645, a good impression of this rare, lightly bitten print, with thread margins on three sides and trimmed to the platemark at left, a rust mark in the bushes above, generally in good condition P. 132 x 116 mm., S. 134 x 117 mm. View on Christie's.com
Rembrandt Harmensz. van Rijn (1606-1669) The Virgin and Child with the Cat and Snake (Bartsch, Hollstein 63; Hind 275) etching, 1654, a later impression of the second, final state, with small margins, laid down, in generally good condition P. 94 x 144 mm., S. 99 x 148 mm. View on Christie's.com
Rembrandt Harmensz van. Rijn (1606-1669) Christ seated disputing with the Doctors (Bartsch, Hollstein 64; Hind 277) etching, 1654, with an undentified watermark, a good but later impression of the only state, wide margins, time staining and foxing, a small paper loss at the lower left sheet edge, otherwise in generally good condition P. 95 x 142 mm., S. 153 x 203 mm. View on Christie's.com
Rembrandt Harmensz. van Rijn (1606-1669) Christ and the Woman of Samaria: An Arched Print (Bartsch, Hollstein 70; Hind 70) etching with drypoint, 1657, a later impression of the third, final state, printing with tone, trimmed inside the platemark but outside the border line, minor paper losses at top right and lower left corners P., S. 127 x 162 mm. View on Christie's.com
Rembrandt Harmensz. van Rijn (1606-1669) Christ healing the Sick: 'The Hundred Guilder Print' - the Right Fragment (cf. Bartsch, Hollstein 74; Hind 236) etching with engraving and drypoint, 1649, an impression of the right fragment of the reworked plate, after the plate was cut by Captain Baillie, with margins, a brown stain at lower left, some foxing in the margins and verso P. 195 x 125mm., S. 220 x 140 mm. View on Christie's.com
Rembrandt Harmensz van. Rijn (1606-1669) The Descent from the Cross: Second Plate (Bartsch, Hollstein 81; Hind 103) etching with engraving, 1633, without watermark, a very good impression of the fourth state (of five), with narrow margins, with a central horizontal drying crease (partially repaired on the reverse), a short repaired tear at the right sheet edge, defects in the blank area and the lower sheet edge, the tip of the lower right corner missing, framed P. 530 x 407 mm., S. 532 x 413 mm. View on Christie's.com
Rembrandt Harmensz. van Rijn (1606-1669) The Descent from the Cross by Torchlight (Bartsch, Hollstein 83; Hind 28) etching, 1654, a good but later impression, without watermark, with small to thread margins, a repaired hole with associated staining on Christ's right leg, some foxing, framed P. 208 x 161 mm., S. 212 x 163 mm. View on Christie's.com
Rembrandt Harmensz. van Rijn (1606-1669) Beggar with a wooden Leg (Bartsch, Hollstein 179; Hind 12) etching, circa 1630, a good but later impression, probably Basan, with thread margins on two sides, trimmed to the platemark at below and left, in very good condition P. 114 x 67 mm., S. 116 x 68 mm. View on Christie's.com
Rembrandt Harmensz. van Rijn (1606-1669) A Woman bathing her Feet at a Brook (Bartsch, Hollstein 200; Hind 298) etching, 1658, a strong but later impression, with the re-work, with small margins, a repaired tear at the lower left sheet edge and other minor defects, the subject in good condition P. 161 x 81 mm., S. 174 x 91 mm. View on Christie's.com
Rembrandt Harmensz. van Rijn (1606-1669) The Goldweigher's Field (Bartsch, Hollstein 234; Hind 249) etching with drypoint, 1651, a fragment of this very rare and important landscape, trimmed approximately 20 mm. into the sky and fractionally into the subject below and at the sides, various made-up paper losses, tears and repairs, laid down, stained P., S. 77 x 333 mm. View on Christie's.com
Rembrandt Harmensz. van Rijn (1606-1669) Lieven Willemsz. van Coppenol, Writing-Master: The Larger Plate (Bartsch, Hollstein 283; Hind 300) etching with drypoint, 1658, a good impression of the sixth, final state, after the plate was cut down, with margins on three sides, trimmed inside the platemark but well outside the borderline at the lower edge, in very good condition P., S. 147 x 142 mm. View on Christie's.com
Rembrandt Harmensz. van Rijn (1606-1669) Bust of a Man wearing a High Cap, three-quarters right: The Artist's Father? (Bartsch, Hollstein 321; Hind 22) etching, 1630, with an unidentified Words watermark (similar to Hinterding H-a), a good impression of the second, final state, with margins, generally in good condition P. 102 x 85 mm., S. 125 x 95 mm. View on Christie's.com
Rembrandt Harmensz. van Rijn (1606-1669) The Artist's Mother with her Hand on her Chest: Small Bust (Bartsch, Hollstein 349; Hind 51) etching, 1631, second, final state, on laid paper, with thread margins, some stains at the corners, remains of tape at the upper sheet edge, other, minor defects, some skinning lower left reverse, foxing; together with Rembrandt in a Cap and Scarf, Face dark (B., Holl. 17; H. 108) (2) View on Christie's.com
Jusepe de Ribera (1591-1652) The Penitence of Saint Peter (Bartsch 7; Brown 6) etching, 1621, a very good impression of the second, final state, watermark Coat-of-Arms with Bend, trimmed inside the platemark, with the address of Frans van Wyngaerde partially trimmed off, a flattened horizontal central crease, faintly visible recto, in very good condition P., S. 317 x 243 mm. View on Christie's.com
Adrian Ludwig Richter (1803-1884) Christmas (Hoff & Budde 271) etching, 1855, printed on Chine collé on card, a tear at centre above, otherwise in generally good condition; with two other etchings by the same hand, Genoveva and Rübezahl (H. + B. 264 & 265), circa 1848, both on Chine collé, Rübezahl with some minor foxing in the margins, otherwise in generally good condition P. 550 x 410 mm., S. 593 x 443 mm. (and similar) (3) View on Christie's.com
Orazio de Sanctis (1568-1584) after Pompeo dell'Aquila The Holy Family with Saint Elizabeth and Saint John the Baptist (Bartsch 4) etching with engraving, 1568, a fine impression of the very rare first state (of two), before the lower right was blocked out, with narrow margins, a short repaired tear at lower sheet edge, various thin areas, the sheet very thinly backed, the subject generally in good condition P. 250 x 193 mm., S. 254 x 196 mm. View on Christie's.com
Thomas Tegg, Publisher Nursing the Spawn of a Tyrant, or Frenchmen sick of the Breed handcoloured etching, published London, 1811 unframed S. 14 x 10in. (355 x 253mm.) with a collection of 9 further caricatures, most relating to Napoleon, after or by J. Gillray, G. Cruikshank and others, including 'Twelfth Night or What you Will!'; 'Spanish Flies or Boney taking an imoderate dose'; 'The Continental Shaving Shop'; 'Boneys Return from Elba'; and 'Political Quadrille' plates 1 and 2 (10) View on Christie's.com
James Gillray (1756-1815) Scientific Researches! - New Discoveries in PNEUMATICKS! - or - an Experimental Lecture on the Powers of Air handcoloured etching, on wove paper with thread margins, published by H. Humphrey, London, 1802 unframed S. 10 x 14 1/8in. (255 x 360mm.) View on Christie's.com
James Gillray (1756-1815) Consequences of a Successfull French Invasion - Me teach de English Republicans to work - scene. A ploughed Field handcoloured etching on wove paper, trimmed within margins, published by J. Gillray, London, 1798 unframed S. 11 7/8 x 15 3/8in. (300 x 390mm.) with 'The King of Brobdingnag and Gulliver', handcoloured etching after Gillray, and 'French Travelling, or the first Stage from Calais' and 'The Death of the Fox', handcoloured aquatints by Thomas Rowlandson (4) View on Christie's.com
Giovanni Battista Piranesi (1720-1778) An arched chamber with lower arches surmounted by posts and chains, from: Carceri d'Invenzione (Hind 12) etching, second state (of three), on laid paper, circular watermark surmounted with the letter p, good impression, with margins S. 20½ x 27¾in. (520 x 705mm.) View on Christie's.com
Giovanni Battista Piranesi (1720-1778) The Castel Sant'Angelo, from: Vedute di Roma (H. 30) etching, 1754, watermark Fleur-de-Lys in a Single Circle, second state (of four), with the price erased but before numbers, from the First Paris Edition, 1800-07, with wide margins on three sides and a narrow margin below, with the usual central fold, irregular trimmed edges, moisture stains and discolouration in the margins, two wormholes in the upper image, otherwise generally in good condition, with three others from the same series: The Temple of Portunus (?) (H. 47), Hind's third state (of five), The Tomb, called La Conocchia (H. 130), Hind's first state (of three) and Hadrian's Villa: The Piazza d'Oro (H. 132), Hind's first state (of three) P. 17 x 22in., S. 18 x 26in. P. 439 x 560 mm., S. 470 x 664 mm. (H. 30) (and similar) (4) View on Christie's.com
Rudolphe Bresdin (1822-1885) Mon rêve (Préaud 17) etching, 1883, on Japan paper, second state (of four), before the lettering, signed in pencil, from the edition of 25, with margins, faint time staining and unobtrusive soiling; together with La Mere et la Mort (Praud 137) and The frontispiece for la revue Fantaisiste (P. 8), by the same hand, etchings, both on Chine creme collè, all in generally good condition; and Dante et Virgile (Delteil 76), by Jean Baptiste Camille Corot, clichè-verre, 1858, on wove paper, a pale impression of the only state, with narrow margins, in good condition P. 220 x 137 mm., S. 375 x 255 mm. (4) View on Christie's.com
After Marc Chagall (1887-1985) by Georges Visat Aleko (Maeght 1206) etching and aquatint in colours, circa 1955, on wove, signed in pencil, numbered 45/300, published by Maeght, Paris, with margins, the sheet slightly trimmed, time staining in the margins, the colours very vibrant, otherwise generally in good condition, framed P. 470 x 525 mm., S. 533 x 588 mm. View on Christie's.com
Eugène Delacroix (1798-1863) Arabes D'Oran (Delteil 20) etching, drypoint and roulette, 1833, on chine appliquée, a good impression of the second state (of six), with some touches of burr, some foxing to the margins of the support sheet, in generally good condition P. 165 x 207 mm., S. 165 x 205 mm. View on Christie's.com
James Ensor (1860-1949) Les Péchés Capitaux dominés par la Mort (Delteil, Taevernier 126; Elesh 131) etching and drypoint with extensive hand-colouring in watercolour, 1904, on simili Japon, signed in pencil, countersigned in pencil verso, with margins, irregularly trimmed sheet edges, the colours slightly attenuated, pale mount and light-staining, otherwise generally in good condition, framed P. 91 x 140 mm., S. 178 x 223 mm. View on Christie's.com
Elisabeth Frink (1930-1993) Kestrel, from the Birds of Prey (Wiseman 112) etching with aquatint in colours, 1974, on J Green paper, signed in pencil, numbered 18/50 (there were also 10 artist's proofs), published by Leslie Waddington Prints Ltd, London, the full sheet, very pale time staining, otherwise in good condition P. 540 x 466 mm., S. 927 x 650 mm. View on Christie's.com
Elisabeth Frink (1930-1993) Snowy Owl, from Six Owls (Wiseman 116) etching with aquatint in colours, 1977, on BFK Rives paper, signed in pencil and inscribed A/P, an artist's proof aside from the edition of 75, published by Leslie Waddington Prints Ltd, London, the full sheet, some short creasing in the margins, otherwise in good condition P. 535 x 460 mm., S. 890 x 610 mm. View on Christie's.com
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