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Click here to subscribeRembrandt 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
Elisabeth Frink (1930-1993) Rolling over horse (Wiseman 123) etching with aquatint in brown, 1980, on Arches paper, signed in pencil, numbered 32/75 (there were also 10 artist's proofs and 3 printer's proofs), published by Waddington Graphiocs, London, the full sheet, in very good condition P. 545 x 690 mm., S. 680 x 900 mm. View on Christie's.com
Stanley William Hayter (1901-1988) Maternité Aillée (Black & Moorhead 187) engraving, etching and scorper printed in colours, 1948, on watermarked BFK Rives paper, signed, titled and dated in pencil, inscribed E Couleur, a colour proof aside from the edition of 50, published by Graphics International, with wide margins, a few unobtrusive grubby marks in the lower margin, otherwise in good condition, P. 344 x 200 mm., S. 560 x 374 mm.; with Maternity (B. & M. 132), etching and silkscreen in colours, 1940, on watermarked laid paper, signed, dated and inscribed Etat III with colour in pink pencil, a colour proof aside from the edition of 50, with a large stain in the top margin and small blue stain to the lower right corner, some soiling, the image in very good condition, P. 230 x 190 mm., S. 397 x 297 mm. (2) View on Christie's.com
Jean-Emile Laboureur (1877-1943) Le Balcon sur la Mer (Laboureur 274) etching, 1923, on pale blue laid paper, third, final state, signed in pencil, numbered 49/57, with wide margins, time staining, predominately to the extreme sheet edges, a few unobtrusive foxmarks and minor soiling in the margins, otherwise in good condition; with L'Eau Frache, from Toilettes (L. 633), woodcut, 1907, on thin Japan laid paper, first state of two, signed in blue pencil, from the edition of 1050 for Hyperion (there were also 23 impressions of the first state and 30 of the second), with wide margins, pale foxing and remains of old tape along the top sheet edge verso, otherwise in good condition P. 297 x 210 mm., S. 477 x 307 mm. (2) View on Christie's.com
After Rene Magritte (1898-1976) La Folie Almayer, from Le Lien de Paille (Kaplan & Baum 18) etching and aquatint in colours, 1968, on BFK Rives paper, with the artist's stamped signature and the 'Gravure Originale, Atelier Ren Magritte' blindstamp, numbered 128/150 (there were also 150 on Japon nacré), with margins, apparently in excellent condition, unexamined out of the frame P. 195 x 150 mm. View on Christie's.com
Edouard Manet (1832-1883) Les Gitanos (Harris 18) etching, 1872, on watermarked laid paper, a good impression of the second, final state, from the edition of unknown size, published by A. Cadard & F. Chevalier, Paris, with their blindstamp, wide margins, pale time staining, remains of paper tape at the top and right sheet edges verso, a few scattered foxmarks, minor soiling and soft handling creases in the margins, otherwise in good condition P. 317 x 234 mm., S. 530 x 365 mm. View on Christie's.com
Charles Meryon (1821-1868) Entrée du Faubourg Saint-Marceau (Delteil & Wright 10) etching, 1850, on laid paper, a strong impression of the second, final state, with wide margins, S. 277 x 375 mm.; together with Le Tombeau de Molière (D. & W. 40), etching, 1854, second, final state; with Prô-volant des Iles Mulgrave (D. & W. 74), etching, 1866, fifth state (of seven), all in good condition (3) View on Christie's.com
Jean-Francois Millet (1814-1875) Le Départ pour le travail (Delteil 19) etching in bistre, circa 1865, a richly inked impression, probably the fifth or sixth state of seven, on laid paper, with margins, a repaired 410 mm. tear running along the right margin, light and time staining, occasional foxing and other skilfully repaired small defects P. 387 x 310 mm., S. 458 x 377 mm. View on Christie's.com
Henry Moore (1898-1986) Ideas for Sculpture (Cramer 103) etching, 1969, on Arches paper, signed in pencil, numbered 44/100 (there were also 35 artist proofs), published by Arted Editions d'Art, Paris, apparently in good condition, unexamined out of the frame P. 308 x 238 mm. View on Christie's.com
Henry Moore (1898-1986) Two Reclining Figures (Cramer 466) etching, 1977-78, from the album Requiem pour la fin des temps, on Arches paper, signed in pencil, numbered II/XLVI (Cramer calls for an edition of 100 copies and other 45 numbered with Roman numerals), the full sheet, with the vertical fold (as issued) and text on the other sheet, in excellent condition P. 305 x 225 mm., S. 675 x 520 mm. View on Christie's.com
Henry Moore (1898-1986) Two Reclining Figures (Cramer 467) etching, 1977-78, from the album Requiem pour la fin des temps, on Arches paper, signed in pencil, numbered II/XLVI (Cramer calls for an edition of 100 copies, plus 45 numbered with Roman numerals), the full sheet, with the vertical fold (as issued) and the tile page on the other sheet, in excellent condition P. 303 x 225 mm., S. 674 x 520 mm. View on Christie's.com
Henry Moore (1898-1986) Mother and Child XVIII (Cramer 688) etching printed in colours, 1983, on Arches paper, signed in pencil and numbered 52/65 (there were also 15 hors commerce impressions), published by the Henry Moore Foundation, the full sheet, in excellent condition P. 222 x 165 mm., S. 521 x 440 mm. View on Christie's.com
Victor Pasmore (1908-1998) Untitled (Lynton G 14) etching and aquatint in colours, 1982, on Magnani paper, signed and dated in pencil, numbered 46/85, published by Marlborough Fine Art, London Ltd. with their blindstamp and 2RC Edizioni d'Arte Rome, apparently in good conditon, unexamined out of the frame P. 790 x 790 mm. View on Christie's.com
Victor Pasmore (1908-1998) Deep inside I look but of a soul I could find no sign! etching and aquatint in colours, 1974, on wove paper, signed and dated in pencil, numbered 44/60, with wide margins, some occasional scattered foxmarks and time staining, otherwise apparently in good condition, unexamined out of the frame P. 365 x 380 mm. View on Christie's.com
Victor Pasmore (1908-1998) Anxious Moments (Lynton G42) etching and aquatint in colours, 1986, on Fabriano paper, signed and dated in pencil, numbered 41/90 (there were also 15 artist's proofs), published by Marlborough Fine Art Ltd., and 2RD Edizione d'Arte, Rome, in good conditon, framed P. 995 x 700 mm. View on Christie's.com
Victor Pasmore (1908-1998) Untitled 7 (Lynton G 59) etching and aquatint in colours, 1989, on Fabriano paper, signed and dated in pencil, numbered 58/90 (there were also 15 artist's proofs), published by Marlborough Graphics, London, in collaboration with 2RC Edizione d'Arte, Rome, with the printer's blindstamp, apparently in very good condition, unexamined out of the frame S. 315 x 1890 mm. View on Christie's.com
Victor Pasmore (1908-1998) Sunrise (Lynton G 74) etching and aquatint in colours, 1992, on Fabriano paper, signed and dated in pencil, numbered 18/90, published by Marlborough Graphics Ltd. and 2RC Edizioni d'Arte, Rome, with their blindstamps, apparently in good condition, unexamined out of the frame, S. 870 x 640 mm. View on Christie's.com
Camille Pissarro (1830-1903) Crepuscule (avec Meules) (Delteil 23) etching and aquatint, 1879, on J Whatman watermarked laid paper, a very good impression of the third, final state, from the posthumous edition of 50 printed in 1920, with the artist's monogram stamp (Lugt 613) and numbered 36/50, with wide margins, in very good condition P. 104 x 177 mm., S. 462 x 291 mm. View on Christie's.com
Camille Pissarro (1830-1903) Vielle Rue à Rouen, Rue Malpalue (Delteil 41) etching with drypoint and aquatint, 1883, on laid paper, the second, final state, from the posthumous edition printed in 1923, pale light staining, otherwise in good condition; with Self-portrait with pipe, by Rolf Nesch, drypoint, 1921, on thick wove paper, signed and annotated in pencil, time staining, scattered foxing and remains of old glue in the margins recto and to all four corners verso P. 120 x 120 mm., S. 240 x 174 mm. (2) View on Christie's.com
Camille Pissarro (1830-1903) Cours Boiëldieu à Rouen (Delteil 46) etching, 1884, on laid paper, with the blue artist's stamp, numbered 15, from the edition of 30, bearing signature and title in pencil, with wide margins, light and backboard staining, remains of adhesive tape along the sheet edges verso, a few scattered foxmarks and soiling in the margins, a small moisture stain to the right lower corner, framed P. 150 x 195 mm., S. 275 x 360 mm. View on Christie's.com
Camille Pissarro (1830-1903) La Vache (Delteil 58) etching and aquatint, 1885, on laid paper, third, final state, from the posthumous edition with the artist's stamp, numbered 5/7 (there were also 12 lifetime impressions), with margins, in generally good condition P. 110 x 116 mm., S. 137 x 223 mm. View on Christie's.com
James Jacques Joseph Tissot (1836-1906) Histoire ennuyeuse (Wentworth 32) etching with drypoint, 1878, on laid paper, signed in pencil, from the edition of about 100, with margins, mount and time staining, scattered foxing throughout, remains of glue and tape from previous hinging, otherwise in good condition, framed P. 314 x 203 mm., S. 405 x 271 mm. View on Christie's.com
Elizabeth Blackadder (b. 1931) Orchidaceae Masdevallia Coccinea etching in colours, 1993, on wove paper, signed in pencil, numbered 38/40, in good condition, S. 637 x 590, together with three others by the same hand Orchidaceae Bulbophyllum (Cirrhopetalum) Rothschindidnum, Orchidaceae Dendrobium Atroviolaceum and Orchidaceae Masdevallia Houtteana Colombia, each signed in pencil and numbered, some faint time staining otherwise in generally good condition (4) View on Christie's.com
Jim Dine (b. 1935) Red Dancer on the Western Shore (Carpenter 23) woodcut and spit bite etching in colours, 1988, on two sheets of Arches Cover paper, signed and dated in pencil, numbered 1/14 (there were also 2 artist's proofs), published by Graphic Studio, University of South Florida, Tampa, the full sheets, apparently in very good condition, unexamined out of the frame S. 1996 x 1206 mm. View on Christie's.com
Johnny Friedlaender (1912-1992) Steles: Steles, & Farben etching with aquating in colours, 1970, on wove paper, signed in pencil, inscribed EA, aside from the standard edition of 550, some faint time staining, otherwise apparently in good condition, unexamined out of the frame, P. 177 x 103 mm. View on Christie's.com
David Hockney (b. 1937) The Princess in her Tower 2 from Illustrations for Six Fairy Tales from the Brothers Grimm (MCA Tokyo 68) etching, 1969, on Hodgkinson handmade paper, signed in pencil, numbered 95/100 (there was also the unsigned book edition of 600 copies), published by Petersburg Press, New York and London, the full sheet, with a deckle edge at left, with very pale time staining in margins, generally in good condition P. 450 x 323 mm., S. 620 x 450 mm. View on Christie's.com
David Hockney (b. 1937) Peter (MCA Tokyo 107) etching, 1969, on J Green mould paper, signed and dated in pencil, numbered 53/75 (there were also 16 proofs), published by Petersburg Press, London, some time staining, predominately to the extreme sheet edges, some creasing to the left margin and other minor surface defects, in generally good condition P. 680 x 540 mm., S. 933 x 705 mm. View on Christie's.com
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