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Click here to subscribe* Piranesi (Giovanni Battista, 1720-78). Veduta del Ponte Lugano su l'Anione, from Vedute di Roma, 1763, etching on laid paper, a strong impression of the first state (of 4), with the artist's address and price, laid down to sheet edges on modern card, trimmed to, or just inside the plate mark, some marks and small abrasions, sheet size 455 x 660 mm (18 x 26 ins)QTY: (1)NOTE:Hind 68 i/iv.
* Piranesi (Giovanni Battista, 1720-78). Veduta della Piazza della Rotonda, from Vedute di Roma, 1751, etching on thick laid paper, the fourth state (of seven), a strong impression, laid down on modern card, large margins, central fold, some light dust soiling, plate size 395 x 545 mm (15 1/2 x 21 1/2 ins), sheet size 475 x 655 mm (19 x 26 ins), mountedQTY: (1)NOTE:Hind 17 (iv/vii). Wilton-Ely 144. Focillon 796. Ficacci 882.
* Piranesi (Giovanni Battista, 1720-1778). Veduta del Porto di Ripetta, 1753, etching on laid paper from the series Vedute di Roma, contemporary Roman edition, the 4th state (of 8), with publisher's address and price 'Presso l'Autore a Strada Felice nel Palazzo Tomati vicino alla Trinita de monti, A due paoli e mezzo', a good clean impression with margins, laid down on backing card, plate size 400 x 600 mm (15 3/4 x 23 3/4 ins), sheet size 480 x 670 mm (18 7/8 x 26 3/8 ins), framed and glazed with Frost & Reed printed label (dated 1963) to versoQTY: (1)NOTE:Hind 28, iv/viii; Wilton-Ely 155.
* Ardizzone (Edward, 1900-1979). The Model and her Reflection, 1960 [but later], lithograph, from the posthumous edition of 75 impressions issued in 1999, titled and numbered 30/75 in pencil, image size 24 x 35.5 cm (9 1/2 x 14 ins), sheet size 50 x 65.5 cm (19 3/4 x 25 3/4 ins), together with Trumm (Peter, 1888-1966). Der Liebevolle Monch, etching on thick cream wove paper, signed and inscribed 'Eigenhandiger Probedruck', plate size 128 x 175 mm (5 x 6 7/8 ins), sheet size 170 x 235 mm (6 3/4 x 9 1/4 ins) QTY: (2)NOTE:Provenance: Collection of the artist Leonard McComb (1930-2018).The lithograph was first issued in 1960 in an edition of only 25 impressions.
* Piranesi (Giovanni Battista, 1720-1778). Veduta dell'insigne Basilica Vaticana coll'ampio Portico, e Piazza adjacente, from Vedute di Roma, 1775, etching on laid paper, the first state (of 3), before the addition of the number 2 to upper right margin, laid down on modern card, narrow margins (trimmed to the plate mark on lower margin), some marks and small abrasions, short tear repaired to centre of upper margin, plate size 480 x 715 mm (19 x 28 1/4 ins), sheet size 487 x 730 mm (19 1/4 x 28 3/4 ins)QTY: (1)NOTE:Hind 120 i/iii.
* Sandby (Paul, 1731-1806). In the Meadows near Edinburgh, 1751, etching printed in brown on laid paper, a fine, atmospheric impression, trimmed to the subject, sheet size 21.3 x 16.5 cm (8 3/8 x 6 3/8 ins) and six other etchings from the Figures series, fine, delicate to very good impressions on laid paper, various sizes (all relatively small format) QTY: (7)NOTE:Gunn 43, 44, 52, 63, 81, 100, 101.
* Sickert (Walter Richard, 1860-1942). Cicely Hey (The Small Plate), circa 1923, etching, the second state (of 2), plate size 145 x 73 mm, framed and glazed, with Ernest Brown & Phillips, Ltd. The Leicester Galleries label to versoQTY: (1)NOTE:Provenance: Collection of Sir Lawrence Gowing (1918-1991).Bromberg 212, II/II.
* Grunewald (Guido, 1881-1935). Sleeping Kitten, colour etching, signed in pencil to lower right, plate size 19.8 x 24.9 cm (7 3/4 x 9 3/4 ins), framed and glazed (35 x 40 cm) QTY: (1)Sleeping Kitten, also known as ‘Chessie, the Railroad Kitten’. In the 1930s the Chesapeake & Ohio Railway used this image with the slogan ‘Sleep like a Kitten’ and named the character ‘Chessie’. Chessie became a hugely popular image, appearing on calendars, clothing and children's books. Most famously Chessie was used to promote WW2 War Bonds and support for the War Efforts.
* Lepère (Auguste Louis, 1849-1918). The Seine at Pont Nationale, 1909, etching and drypoint, on laid paper, platemark 10.9 x 16.9 cm (4 3/8 x 6 5/8 ins), sheet size 18.7 x 27.8 cm (7 3/8 x 11 ins); together with Les Boulevards près de la Porte St. Denis, 1890, wood engraving; Maxime Lalanne (1827-1886), Paris en 1867, etching; together with a collection of 34 prints by Adolphe Appian (1818–1898), Félix Hilaire Buhot (1847–1898), Henri Rivière (1864–1951) Alexander Runciman (1736–1785); Henry Somm (1844–1907), and othersQTY: (37)
* Brunsdon (John, 1933-2014). Dunes at Porteynon Bay, etching and aquatint, signed, titled and numbered 'Trial Print 5' in pencil, mount aperture 47 x 61 cm (18 1/2 x 24 ins), framed and glazed (65 x 81 cm), together with Anne Hathaway's Cottage and Garden, etching and aquatint, signed, titled and numbered 'Artist Proof 9/20', plate size 11.1 x 29 cm (4 3/8 x 11 3/8 ins), framed and glazed (19.5 x 40 cm)QTY: (2)
* Gooden (Stephen, 1892-1955). Death and the Woodman, & The Acorn and the Pumpkin (from Les Fables de la Fontaine), 1931, engravings, very good impressions on wove paper, with margins, framed (32.5 x 24.5 cm), the former platemark 157 x 88mm (6 1/4x 3 3/8ins), sheet size 31.5 x 23.3mm (12 3/8 x 9 1/8ins), the latter plate size 157 x 88mm (6 1/4 x 3 1/2 ins), sheet size 25.6 x 17mm (10 x 5 1/4ins), together with Lambert (Terence Henry, 1891-circa 1950). Evening at Vannes, 1926, etching on wove paper, a good impression, printing with tone, signed, dated, titled and numbered 21/250, with margins, unframed QTY: (3)
* Whaite (Gillian, 1934-2012). Cat Among Autumn Leaves, etching and watercolour on wove paper, signed, titled and numbered 7 ex 75 to lower margin, plate size 38.2 x 49.1 cm (15 x 19 1/4 ins), sheet size 50 x 62 cm (19 3/4 x 12 1/2 ins), together with 18 other prints by Whaite, various media, and 9 prints by other artists, including The Siege of Budapest 1945, by Julius Komjati, and 6 by Richard Benedetti, various sizesQTY: (28)
* Walcot (William, 1874-1943). Picadilly Circus, etching with drypoint, depicting the rebuilding of the Swan and Edgar department store that was hit during a zepplin raid in 1917 and rebuilt in 1919, signed in pencil to lower right, plate size 13 x 20 cm (5 1/8 x 7 7/8 ins), together withNewcastle, etching with drypoint, signed in pencil to lower right, plate size 9.5 x 14.5 cm (3 3/4 x 5 3/4 ins), contemporary picture frame label to verso, framed and glazed (39 x 29.5 cm), plusBurges Cathedral, Spain, circa 1924, etching with drypoint, signed in pencil to lower right, plate size 14.5 x 19.5 cm (5 3/4 x 7 3/4 ins), framed and glazed (38 x 41 cm)QTY: (3)
* Piranesi (Giovanni Battista, 1720-1778). Veduta del Campidoglio di fianco, from Vedute di Roma, 1775, etching and drypoint on laid paper, without watermark, central fold, some very light spotting, very small loss to extreme upper right blank corner, plate size 40.5 x 68.5 cm (16 x 27 ins), narrow margins, sheet size 41.7 x 70.3 cm (16 1/2 x 27 3/4 ins), framed and glazed QTY: (1)NOTE:Hind 39, iv/vi.
* Swanevelt (Herman van, 1603- circa 1655). A Peasant Family on a Path, circa 1640's, etching, a fine, delicate impression on fine laid paper with a Fool’s Cap watermark (see Churchill 1923, dated 1645), with a thread margin or trimmed on the platemark, in very good condition, with early (17th century ?) initials 'PVA' in pen and brown ink verso (not in Lugt), sheet size 20 x 27.5 cm (7 7/8 x 10 7/8 ins), window mounted, together with Claude Lorrain (circa 1604-1682). Le Dessinateur, etching, a very good though later printing, on wove paper QTY: (2)
* Piranesi (Giovanni Battista, 1720-78). Veduta degli avanzi del Tablino della Casa aurea di Nerone detti volgarmente il Tempio della Pace from Vedute di Roma, 1774, etching on thick laid paper, the first state (of four), an excellent impression, laid down to sheet edges on modern card, narrow margins, some minor marks and abrasions to margins, plate size 490 x 720 mm (19 1/2 x 28 1/2 ins), sheet size 500 x 720 xx (19 3/4 x 28 1/2 ins), mounted QTY: (1)NOTE:Hind 114 (i/iv). Wilton-Ely 247. Focillon 751. Ficacci 985.
* Sirani (Elisabetta, 1638-1635). Mater Dolorosa: Our Lady of Sorrows with Symbols of the Passion, 1657, etching, a fine, bright and vibrant impression of the only state, on laid paper with a Double Encircled Fleur de Lys watermark (similar to Briquet 7121, dated 1587), with a narrow margin at the bottom, otherwise with a thread margin or trimmed on or just within the platemark, slightly unevenly at lower left, in good condition, sheet 28.6 x 20.8 cm (11 1/4 x 8 1/4 ins), in conservation mount, unframed QTY: (1)NOTE:Bartsch 7.
AR * Kiff (Ken, 1935-2001). The Large Tree, 1995, etching printed in green on handmade paper, published in an edition of 35 impressions, signed to lower left and numbered 1/35, plate size 40.5 x 25.5 cm (16 x 10 ins), sheet size 66 x 47 cm (26 x 18 1/2 ins), framed and glazed, with Marlborough Graphics gallery label to versoQTY: (1)NOTE:Provenance: Collection of the artist Leonard McComb (1930-2018).
* Piranesi (Giovanni Battista, 1720-78). Veduta interna della Chiesa della Madonna degli Angioli detta della Certosa che anticamente era la principal sala delle Terme di Diocleziano, from Vedute di Roma, 1774, etching on thick laid paper, the first state (of four), a rich and enticing impression, tipped onto modern card, narrow margins (trimmed to plate mark to left and right sides), some minor marks and abrasions to margins, plate size 490 x 715 mm (19 1/4 x 28 ins), sheet size 505 x 725 mm (20 x 28 1/2 ins), mountedQTY: (1)NOTE:Hind 129 i/iv. Wilton-Ely 262. Focillon 835. Ficacci 1000.
* Dodd (Sir Frances, 1874-1949). The Garden Door (Portrait of Isabel Dacre), 1909, drypoint etching on laid paper, signed and inscribed 'Own Proof', pale mount stain, plate size 353 x 201 mm (13 3/4 x 7 7/8 ins), sheet size 47.5 x 33 cm (18 3/4 x 13 ins), old frame, glazed, with framers label of Charles Chenil 7 Co., Ltd., 183a, King's Road, Chelsea to versoQTY: (1)NOTE:Schwabe 44.
* Piranesi (Giovanni Battista, 1720-1778). Veduta interna della Basilica di S. Maria Maggiore, from Vedute di Roma, circa 1768, etching on wove paper, the 4th state (of 4), issued by Firmin-Didot, Paris, circa 1835-37, short margins, plate size 43.5 x 68.5 cm (17 1/8 x 27 ins), sheet size 45 x 70 cm (17 3/4 x 27 1/2 ins), window-mountedQTY: (1)NOTE:Hind 87 iv/iv; Focillon 728; Wilton-Ely 220.
* Kitaj (Ronald Brooks, 1932-2007). Self Portrait, Reading, 1983, etching on thick Richard de Bas pale cream handmade paper, with watermark, from the published edition of 30 impressions, signed, numbered 11/30, and inscribed 'for Leonard with love' in pencil, a few minor marks, plate size 49 x 36.5 cm (19 1/4 x 14 3/8 ins), sheet size 66 x 51 cm (26 x 20 ins)QTY: (1)NOTE:Provenance: Collection of the artist Leonard McComb (1930-2018).Kinsman 121B.
* Brangwyn (Frank, 1867-1956). Via Dolorosa, 1923, etching with drypoint on cream wove paper, signed in pencil to lower margin, plate size 38 x 35.1 cm (15 x 13 3/4 ins), sheet size 63.7 x 45.6 cm (25 x 18 ins), together with: Tramps Resting, 1923, etching with drypoint on cream wove paper, signed in pencil to lower margin, plate size 30.4 x 37.7 cm (12 x 14 7/8 ins), sheet size 45.5 x 62.7 cm (18 x 24 5/8 ins), plus: Men with Performing Animals, 1911, etching with drypoint on cream wove paper, signed in pencil to lower margin, plate size 27.9 x 36.6 cm (11 x 14 3/8 ins), sheet size 45.6 x 63.5 cm (18 x 25 ins), the etchings contained in (partial) Brangwyn Portfolio, by E.F. D'Alignan & Paul Turpin, 1927, with illustrated title on cover, text by Steinlen in French and English, list of illustrations (of the first part I-L only) in French and English, 12 illustrations only, including the 3 listed etchings, also including one original lithograph: Revolt 1920, the remainder being lithographic reproductions of watercolours, drawings & pastels, many with stencil-added chalk or watercolour, plus: Catalogue of Ninety-Six Etching by Frank Brangwyn, A.R.A., London: The Fine Art Society, January 1912, 12pp., two etching titles added in contemporary ink manuscript to final leaf, lightly foxed, original printed wrappers (toned), slim 8voQTY: (2)NOTE:The three etchings are listed in the Catalogue Raisonne as E938, E937 and E837 respectively (numbers 84, 90 & 77 in the portfolio). The lithograph Revolt is P1328 (portfolio number 46). The other illustrations present are portfolio numbers 26, 28, 34, 41, 51, 61, 65 & 87.
* Drury (Paul, 1903-1987). Ruins, St. David's, 1937, etching, signed and dated in pencil to lower margin, plate size 17.5 x 22 cm (6 7/8 x 8 5/8 ins), mounted, framed and glazed (40 x 43 cm), together with Langmaid (Rowland, 1897-1956). St Paul's Cathedral from the Thames, 1929, etching, signed in pencil to lower margin, plate size 27 x 20.5 cm (10 5/8 x 8 ins), mounted, framed and glazed (47 x 40 cm), plus Walcott (William, 1874-1943). San Carlo, Naples, etching, signed lower right, some overall toning, plate size 18 x 17 cm (7 x 6 5/8 ins), mounted, framed and glazed (40 x 33.5 cm), with remnants of original labels to versoQTY: (3)
* Leyden (Lucas van, circa 1494–1533). The Large Ecce Homo, 1510 [but later], etching on Arches laid paper, with chain lines approximately 28 mm apart, watermarked 'ARCHES', probably 18th century, a good impression, trimmed to or just inside the platemark, with some loss of the borderline, sheet size 290 x 454 mm (11 1/2 x 17 7/8 ins), hinge-mounted on card, old gilt frame, glazed (48 x 61 cm)QTY: (1)NOTE:Bartsch 71; New Hollstein 71 (copy).
* Piranesi (Giovanni Battista, 1720-1778). Veduta degli avanzi del Foro di Nerva, from Vedute di Roma, 1757, etching on laid paper with partially visible watermark of a fleur-de-lis in a double circle with monogram CB above, printed with address and price, the second or third state (of 7), a good strong impression, trimmed to platemark (except with thread margin to upper edge), sheet size 40.5 x 62 cm (16 x 24 1/2 ins), inlaid to modern mounting paper, window-mountedQTY: (1)NOTE:Hind 42, ii/vii; Focillon 749; Wilton-Ely 181.
* Piranesi (Giovanni Battista, 1720-78). Veduta dell’ Arco di Constantino, from Vedute di Roma, 1771, etching on thick laid paper, a strong impression of the first state, laid down on later card, central fold, trimmed to plate mark, small area of dust soling to upper left of image, small creases to top right, plate size 470 x 705 mm (18.5 x 27.5 ins), sheet size 665 x 890 mm (26 x 35 ins), framed and glazed, with Frost & Reed printed label to verso QTY: (1)NOTE:Hind 97, i/iii; Ficacci 968. Engraved in Rome by Piranesi, and first published by his son Francesco in Paris in 1771.
* Piranesi (Giovanni Battista, 1720-78). Sepolcro di Cecilia Metella, from Vedute di Roma, 1762, etching on thick laid paper, the second state (of five), partially laid down on modern card, narrow margins, some minor marks and abrasions to margins, plate size 460 x 640 mm (18 x 25 1/4 ins), sheet size 475 x 655 mm (18 3/4 ins x 25 1/2 ins), mountedQTY: (1)NOTE:Hind 67 (ii/v); Wilton-Ely 200; Focillon 772; Ficacci 938.
* Vasi (Giuseppe, 1710-1782). Il Prospetto principale del Tempio e Piazza di S. Pietro in Vaticano, e Palazzo Pontificio, 1774, etching with engraving on two conjoined sheets of laid paper, plate size 705 x 975 mm (27.75 x 38.4 ins), margins trimmed to or just inside plate mark, a little browning to extreme outer edges, laid down on 20th-century card, a few scuffs and small marks, sheet size 713 x 985 mm (28 x 38 3/4 ins), together with L'Interno della Basilica Vaticana colla rappresentanza dell'Ordine, 1775, & La Veduta del Fianco destro della Basilica Vaticana con l'Ordinanza della Solenne Cavalcata del Somo Pontefice..., 1778, etchings with engraving on two conjoined sheets of laid paper, both trimmed to the etched borderline, laid down 20th-century card, 703 x 975 mm (27 3/4 x 38 1/2 ins), matching modern frames, glazedQTY: (3)
* Piranesi (Giovanni Battista, 1720-78). Veduta del Tempio detto della Concordia, circa 1774, etching on thick laid paper, the first state (of three), a vibrant impression, laid down to sheet edges on modern card, narrow margins, plate size 470 × 700 mm (18 1/2 × 27 1/2 ins), sheet size 480 x 710 mm (19 x 28 ins)QTY: (1)NOTE:Hind 109 i/iii; Focillon 829; Wilton Ely 242.
* Simon (George, 2nd Earl of Harcourt 1736-1809). View of Windsor Castle from the River, after Paul Sandby, circa 1763, etching, a fine, black impression on laid paper, retaining a fillet of blank paper outside the borderline, sheet size 8.8 x 26 cm (3 1/2 x 10 1/4 ins), together with Stark (James, 1794-1859). A Wooded Landscape with Figure on a Path, etching on laid paper, a very good, atmospheric impression; plus a group of eight etchings by followers of Sandby; and Paul Sandby, later impressions on wove paper of Gunn 86, 133 (hand-coloured),199, 202, and 301; and two reproductionsQTY: (17)
AR * Rouault (Georges, 1871-1958). Jésus Honni..., from Miserere, 1923, published 1948, drypoint etching with roulette and deburring on Arches laid paper watermarked 'Arches' and 'Ambroise Vollard', plate II from the series, published in an edition of 425 impressions by Edition de l'Etoile Filante, Paris, printed by Jacquemin, the full sheet, plate size 54.5 x 40 cm (21 1/2 x 15 3/4 ins), sheet size 64.5 x 50.5 cm (25 x 19 3/4 ins), mounted with archival tape to upper margin and one side margin, framed and glazed (95 x 78 cm)QTY: (1)NOTE:Chapon-Rouault, 55c.
* Crome (John the Elder, 1768-1821). A Large Tree on a Mound, circa 1809-1813, etching, on chine appliqué on wove paper, a very good, bright and delicate impression, with margins, 16.8 x 15.8 cm, sheet 21.8 x 20.1 cm, in good condition, unframed QTY: (1)NOTE:John Crome was, along with John Sell Cotman (1782-1842), the major artist of the Norwich School. Crome was a painter in oils and watercolours and only etched for a short period, during the years 1809 to 1813.
* Piranesi (Giovanni Battista, 1720-78). Veduta dell’ Arco di Tito, 1771, etching on thick laid paper, the first state (of four), a vibrant impression, laid on later card, central fold, thread margin to top of image, other three margins trimmed to plate mark, repaired marginal closed tear to top of image, plate size 480 x 71 mm (19 x 28 ins), sheet size 715 x 950 mm (28 x 37.5 ins), framed and glazedQTY: (1)NOTE:Hind 98, i/iv; Ficacci 969. ?
* Piranesi (Giovanni Battista, 1720-78). Veduta della vasta Fontana di Trevi anticamente detta l’Acqua Vergine, from Vedute di Roma, 1751, etching on thick laid paper, the third state (of seven), a deep and clear impression, laid down to sheet edges on modern card, central fold, narrow margins, some dust soiling, plate size 400 x 560 mm (16 x 22 ins), sheet size 420 x 570 mm (16 1/2 x 22 1/2 ins), mountedQTY: (1)NOTE:Hind 19 (iii/vii). Wilton-Ely 156. Focillon 793. Ficacci 883.
* Reni (Guido, 1575-1642). A Glory of Angels, after Cambiaso, circa 1607, etching, a very good impression, printing with effective contrasts,t he final state, with extra heads added at the top, collector's stamp of Martin Folkes lower right (Lugt 1033) and George Walker's paraphe 'G. W. Edinburgh' in pen and ink verso (Lugt 1224), with a thread margin or trimmed to the borderline, a small skinned patch lower left verso, generally in very good, well preserved condition, 40.5 x 27.5 cm (15 7/8 x 10 3/4 ins) in a conservation mountQTY: (1)NOTE:Provenance: Martin Folkes (Lugt 1033); George Walker (Lugt 1224).Martin Folkes (1690-1754), archaeologist and numismatics scholar, elected a Fellow of the Royal Society at the age of 23 and President from 1741 to 1753. He was also President of the Society of Antiquaries (1749-1750). His portrait was painted by Jonathan Richardson in 1718, and by Hogarth in 1741. George Walker (died 1815) was an 18th century landscape painter, and member of the Scottish Academy.Bartsch 45.
Jacques Callot (French, 1592-1635) with Abraham Bosse (French, 1604-1676) and Michel Lasne (French, 1590-1667). Large etching titled "Obsidio Rupellae" depicting the siege of La Rochelle, ca. 1628-1631. Complete set of sixteen plates framed together to depict a battle scene bordered with cartouches. The central scene depicts an aerial or bird's eye view of the battle framed by panels bearing descriptions, additional scenes in cartouches, and portraits. Callot etched the central scene and two of the smaller scenes in the border while Lasne and Bosse, and possibly Israel Henriet (French, 1590-1661), etched the portraits and the remaining border.Unframed; height: 56 1/2 in x width: 65 in. Framed; height: 58 in x width: 66 1/4 in x depth: 1 1/4 in.Condition: There is heavy toning and uneven discoloration throughout all the prints. Areas of foxing and small stains throughout. There is undulation to the sheets. The sheets have been framed together to form one large map. There are creases throughout. Wear to the frame, framed under plexiglass. Due to the nature of the framing, this has not been inspected out of frame.
Malcolm Haynie Myers (American, 1917-2002). Etching on paper titled "Ecce Homo (Behold the man)" depicting the biblical scene during Christ's crucifixion, 1952. Pencil signed and dated along the lower right; titled along the lower left; edition 9/35 along the lower center.Provenance: The collection of Urban Couch, Minnesota; by descent from above to Dennis Morton, West Virginia.Height: 17 1/4 in x width: 20 3/4 in.Condition: No visible sign of restoration under UV light. The sheet is heavily toned and the margins are discolored darker than the center, possibly acidic burn from the previous mat, as shown in the listing image. Along the lower margin, the brown discoloration is the most noticeable. Throughout the sheet, there are foxing and creases, particularly along the margins. Along the edges of the center image, there are creases, possibly from the artistic practice. To the upper left quadrant, there is an approximately 4 in long noticeable crease. Along the margins, there are minute chipping as well. To the left upper and upper right margins, there are light handling marks. Along the lower margin, there is a network of minute skimming; please see the listing image. To the center margin, there is a light brown mark. Along the verso, the paper is heavily toned and has original ink seen through from the recto; creases throughout; to the lower left corner, there is a network of skimming.
Malcolm Haynie Myers (American, 1917-2002). Etching on paper print titled "Last Supper" depicting the biblical scene, 1946. Pencil signed and dated along the lower right; titled along the lower left; edition 10/30 along the lower center.Provenance: The collection of Urban Couch, Minnesota; by descent from above to Dennis Morton, West Virginia.Height: 20 in x width: 25 3/4 in.Condition: Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions.com with any condition questions.
Jacques Callot (French, 1592-1635) with Abraham Bosse (French, 1604-1676) and Michel Lasne (French, 1590-1667). Large etching titled "Obsidio Arcis Sammartianianae" depicting the naval siege of the island of Re, ca. 1628-1631. Complete set of sixteen plates framed to depict the seige bordered with cartouches. The central scene depicts an aerial or bird's eye view of the island framed by panels bearing descriptions, additional scenes in cartouches, and portraits. Callot etched the central scene while Lasne and Bosse etched the bordersUnframed; height: 57 1/2 in x width: 64 3/4 in. Framed; height: 58 1/2 x width: 65 3/4 in x depth: 1 1/4 in.Condition: There is heavy toning and uneven discoloration throughout all the prints. Areas of foxing and small stains throughout. There is undulation to the sheets. The sheets have been framed together to form one large map. There are creases throughout. Wear to the frame, framed under plexiglass. Due to the nature of the framing, this has not been inspected out of frame.
Jean-Francois Millet (French, 1814-1875). Etching on paper titled "The Shepherdess Knitting" depicting a woman standing in the shade knitting while her dog watches a herd of grazing sheep in the background, 1862. Signed in plate along the lower left.Sight; height: 13 in x width: 9 1/2 in. Framed; height: 19 3/4 in x width: 14 3/4 in.Condition: There are no visible rips, tears, or losses. No visible restorations when inspected under UV light. The sheet is toned. The work is framed under an acidic mat. Some wear to the frame; framed under glass; not inspected out of frame.
Armand Rassenfosse (Belgian, 1862-1934). Oil painting on board depicting a nursing mother and child. There is a small plaque with the artists name affixed to the lower center of the frame. He is most well known for his 160 color etching illustrations of Charles Baudelaire's poems "Les Fleurs du mal," of which only 130 copies were published.Sight; height: 28 1/2 in x width: 23 1/4 in. Framed; height: 38 in x width: 33 in.Condition: The piece shows no visible losses, creases or tears. The surface appears to be stable. To the center of the mother's face, there is a small area that fluoresces under UV light. In the upper left margin, there is a black circular accretion. Throughout the recto, there are light accretions, possibly original to the artistic process; please see the listing image. Due to the thick and uneven varnish throughout it is difficult to discern whether there are restorations. Along the verso, the board is toned and has soiling and light paint accretions that do not affect the recto, possibly original to the artistic process. Light wear to the frame.
Group of three prints including a work by Picasso, Renoir, and Lebadang:Pablo Picasso (Spanish, 1881-1973). Lithograph titled "The Cape" depicting a bull fight in loose black strokes. Dated June 3, 1961 in plate and further numbered III in Roman numerals in plate along the lower left.Pierre Auguste Renoir (French, 1841-1919). Etching titled "On the Beach" depicting two figures seated on the shore while others frolic in the water. Signed in plate along the lower right.Touty AKA Hoi Lebandang (Vietnamese/French, 1921-2015). Abstract lithograph in orange titled "The Yellow Sampan" depicting a figure confronting a large bird next to a river. Pencil signed "Touty" along the lower right; numbered 19/120 along the lower left.Sight; height ranges from 4 1/2 in to 10 in x width ranges from 5 in to 11 1/2 in. Framed; height ranges from 10 3/4 in to 14 1/2 in; width ranges from 11 1/4 in to 13 3/4 in.Condition: There are no visible tears, soiling, creases or losses to all three items. There is toning on all prints. No visible foxing to Renoir print and Picasso print. The Picasso print has a vertical area to the center and along the upper margin that shows a different color from the rest, possibly transmitted from the verso; please see the listing image. Along with it, there is horizontal line along the upper margin that shows different level of toning. The Renoir print has light undulation to the sheet. The Lebadang print has minor foxing along the lower center margin. There are visible signs of browning along margins. All three prints do not show a sign of restoration under UV light. All framed under plexiglass. Not inspected out of frame. Wear and losses to the frames.
Anders Zorn (Swedish, 1860-1920). Etching on paper titled "A Skeri Girl," alternatively titled "Skerikulla," depicting a girl wearing a dress and a scarf around her head and smiling, 1912. 2nd state printing. Pencil signed along the lower right. Signed and dated in plate along the lower left.References:Axel L. Romdahl, "Anders Zorn: Som Etsare" (Kulturhistoriska Forlaget, Stockholm, 1928) page 101, plate A. 247.Karl Asplund, "Zorn's Engraved Work, Vol. 2" (Alan Wofsy Fine Arts: San Francisco, 1990), page 385, plate 247.Sight; height: 11 in x width: 8 1/4 in. Framed; height: 20 1/4 in x width: 16 1/2 in.Condition: No visible tears, creases or losses. The sheet is toned. There are minute specks, mainly along the bottom and left margins of the sheet that appear to be original to the printing that do not affect the image. There is a minute scattering of debris along the top left quadrant of the mat that does not affect the image. Window mat. Light wear to the frame. Framed under glass. Not inspected out of frame.
Johnny Friedlaender (German, 1912-1992). Etching on paper titled "Premier Conclusion" depicting an abstract geometric scene, 1970. Pencil signed lower right; numbered 16/95 along the lower left.Unframed; height: 30 in x width: 22 in. Framed; height: 41 in x width: 33 in.Condition: No visible tears, creases or losses. No visible signs of restoration under UV light. The sheet is floating on the frame; all margins are visible. There is minute chipping to the upper right margin. The color of the margins is slightly darker than the center; however, it is difficult to discern whether it is discoloration or intended by the artist given the overall style of the item; please see the listing image. Framed under plexiglass; not inspected out of frame. The verso could not be inspected.
Group of two antique map engravings including:Johannes Kip (Dutch, 1653-1722) after a painting by Leonard Knyff (Dutch 1650-1722). Etching on paper titled "Badminton in the County of Gloucester" depicting a bird's eye view map. Published in London in 1705.Olfert (Olivier) Dapper (Dutch, 1636-1689). Engraving on paper titled "Nagapatam (Rynlandsche Roeden)" depicting a bird's eye view map, published in 1672.Provenance: From the Estate of C. Curtis "Curt" Dunnavan, Long Lake, Minnesota.C. Curtis "Curt" Dunnavan (1926-2022) was a passionate world traveler and avid collector. It was through his travels that he was inspired to begin a lifelong relationship with the Minneapolis Institute of Art (Mia), becoming a major sponsor of the institute and facilitating the growth of their Asian art department, which is now one of the best in the country. His generous donations to Mia allowed them to establish a fund for the Deputy Director and Chief Operating Officer, one of the few endowed positions of this type in the museum field. He additionally served as a trustee of the institute, advocating for its operational growth. In its turn, the museum established a gallery named in his honor in recognition for his endowment fund and numerous contributions to their collection. The selections here showcase his talent and breadth of collecting, ranging from ancient statues to 19th-century woodblock prints. His appreciation for art persisted throughout his life and we are honored to offer items from his collection in this auction.Nagapatam; sight; height: 14 1/2 in x width: 11 1/2 in. Framed; height: 23 in x width: 20 in. Gloucester; sight: height: 14 1/2 in x width: 19 1/2 in. Framed; height: 24 in x width: 29 in.Condition: Nagapatam: there are no major visible rips, tears, losses, or restorations. There is a horizontal crease through the center of the sheet. There is light undulation to the sheet throughout. Some light soiling, located primarily along the margins. There is a light discoloration along the right upper quadrant. Light wear to the frame. Framed under glass. Not inspected out of frame.Gloucester: no major visible rips, tears, losses, or restorations. There is a vertical crease through the center of the print. Toning to the sheet. Foxing and light discoloration to the sheet throughout. Light wear to the frame. Framed under glass. Not inspected out of frame.
Stefano Della Bella (Italian, 1610-1664). Old master etching depicting two horsemen riding pas ta flock of sheet, ca. 1656. From the series "Six large views, four of Rome and two of the Roman countryside." Inscribed "SDBella. / In & f. cum Pri. Reg. christ" along the lower left margin.Sight; height: 12 in x width: 10 1/4 in. Framed; height: 19 3/4 in x width: 18 1/4 in.Condition: There are no visible rips, tears, creases, or losses. There is a slight undulation to the sheet. There are a few minute stains to the sheet, most notable along the lower left corner. There appears to be some dirt along the lower left corner of the mat behind the glass. Some undulation to the matboard. The artwork is matted and framed under glass; some wear to the frame; not inspected out of frame.
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