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
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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
David Hockney (b. 1937) An erotic (Scottish Arts Council 172) etching, 1975, on English handmade paper, signed and dedicated to 'Mike Rand', aside from the published edition of 100, printed by Maurice Payne and Michael Rand, published by Secker and Warburg, in good condition, S. 213 x 153 mm. together with two erotic etchings by John Buckland Wright and an erotic woodcut by Eric Gill (4) View on Christie's.com
David Hockney (b. 1937) The Poet, from The Blue Guitar (MCA Tokyo 190) etching in colours, 1976-77, on Inveresk paper, signed in pencil and numbered 86/200 (there were also 37 artist's proofs), published by Petersburg Press, New York, and London, the full sheet, very pale time staining to the extreme sheet edges, in very good condition P. 348 x 430 mm., S. 460 x 530 mm. View on Christie's.com
Robert Motherwell (1915-1991) French Revolution Bicentenniel Suite IV (Terenzio 352) etching and aquatint in colours with collage, 1987-88, signed in pencil, numbered 24/35 (there were also 7 artist's proofs), published by Waddington Graphics, London, with margins, apparently in excellent condition, unexamined out of the frame; together with one other from the same series (Terenzio 353), signed in pencil P. 249 x 350 mm. (2) View on Christie's.com
Antoni Tapies (b. 1923) Arc blau (Galfetti 288) etching and carborundum in colours, 1972, on Garro paper, signed in pencil, an hors commerce impression aside from the numbered edition of 75, published by La Poligrafa, Barcelona, time staining predominantly at sheet edges S. 589 x 770 mm. View on Christie's.com
Antoni Tapies (b. 1923) Camisa (Galfetti 301) etching and carborundum in colours, 1972, on wove paper, signed in pencil, an hors commerce impression aside from the standard edition of 75, published by Editions Poligrafa, Barcelona, time staining, stuck down at sheet edges S. 580 x 760 mm. View on Christie's.com
Antoni Tapies (b. 1923) Creu Decormada (Galfetti 713) etching, aquatint, resins and carborundum in colours, 1979, on Garro paper, signed in pencil, numbered 40/75, published by Editions Poligrafa, Barcelona, taped at sheet edges, handling creases in the margins, unexamined out of the frame S. 560 x 730 mm. View on Christie's.com
Antoni Tapies (b. 1923) 740 (Galfetti 715) etching with aquatint and carborundum in colours, 1979, on Guarro paper, signed in pencil, one of 10 hors commerce impressions (there were 75 numbered impressions and 10 artist's proofs), published by Editions Poligrafa, Barcelona, a few dirt spots right margin, remains of tape verso S. 560 x 730 mm. View on Christie's.com
After Max Beerbohm 1872-1956- "Rev P B Clayton", 1931, publ by Vincent Day & Son Ltd; lithograph printed in colours: together with five other colour lithographs after Max Beerbohm to include John Maresfield, Siegfried Sassoon and others: Jan Franz van Bloemen 17662-1749- View of an Obelisk, after Horizonti; etching, 23.5x18cm: Gottlieb Friedrich Riedel, German 1723-1791- Sheep on a hillside, after J Gradmann; etching, 19x23.5cm: I Clark, early 19th century- "View looking over George Town on the Queeda Coast", publ Black, Parry & Co and Nicol`s & Co 1814; hand-coloured aquatint, 20x25cm: Gaetano Zancon 1771-1816- Tribesmen; hand-coloured aquatint, 20.8x26cm: After Albrecht Dürer 1471-1528- "Christ in Limbo", from The Large Passion, 1510; woodcut, laid paper, Helios watermark, 40x29cm: together with a mixed quantity of prints and reproductions by and after different hands, 18th-20th centuries, (a lot) (unframed (box)
David Dodsworth b.1952- "Araso I"; carborundum in colours with embossing and gold printing on hand made paper, signed and numbered 121/250, 62x85cm: with three other similar smaller screenprints in colours on handmade paper by the same artist, all signed: Isaac Tarkay, Israeli b.1935- Women relaxing in a café; screenprint in colours, signed in pencil, numbered 283/350, 53x70cm: with four other similar prints by the same artist, all signed in pencil, various sizes: Warren Brandt 1918-2002- "Still Life I"; screenprint in colours, signed in pencil, numbered 122/325, 53.5x68cm: with another similar by the same artist entitled "Still Life II", signed in pencil, numbered 136/325, 53.5x68cm: Paul Bisson b.1938- "Smallman`s Wood"; etching and aquatint printed in colours, signed in pencil, numbered 15/250, 36x47.3cm: with two other similar works by the same artist, both signed in pencil: Hazel Soan, mid/late 20th century- "Tropical Gardens II"; screenprint in colours, signed in pencil, numbered 340/350, 56x69cm: with five other similar works by the same artist, all signed in pencil: Catlin Whiting, 20th century- "Clementine"; screenprint in colours, signed in pencil, numbered 255/350, 61x93cm: together with two other similar works by the same artist, both signed in pencil: Susan E Jameson b.1944- "Moon"; mezzotint printed in colours, arch shaped composition, signed in pencil, numbered 4/200, 38x29.3cm: with three other mezzotints by the same artist, all signed: A Ubanof, Russian, late 20th/early 21st- "Kapyceno" clown, surrounded by a fortress with a merry-go-round on his hat; hand coloured etching, signed and dated `93 in pencil, numbered 105/175, 29.7x28.3: with eight other similar works by the same artist, seven signed, one unsigned, various sizes: together with a number of prints and mixed technique works by and after various hands, (a lot) (unframed) (may be subject to Droit de Suite)
Robert Hammerstiel, Yugoslavian/Austrian b.1933- Two figures by a table; oil on canvas, signed with monogram, signed and dated 86 on the stretcher, 35x34.5cm: together with two other studies of figures by the same hand in oil on board, both signed with monogram, 23x21.5 and 17.5x12.5cm: Emil Orlik, Czech 1870-1942- Four figures in a theatre; etching, signed and numbered 25/100 in pencil, 12.5x20.5cm: Snehla, Slovakian, late 20th century- Untitled; oil on canvas, signed, dedicated on the reverse, 20.2x20.2cm: Eggermont, late 20th century- Landscape; watercolour, signed, inscribed and dated 78, 21x31cm: Zsuzsi Roboz, Hungarian b.1939- "Steppenwolf"; lithograph, signed, titled and dated 1974, 32x43.5cm: Alfred Manessier, French 1911-1993- Christmas card with abstract motif; lithograph, signed and numbered 32/200 and inscribed, 15x31cm: French School, early-mid 19th century- Royaume de Boheme, Royaume d`Hongrie; hand-coloured engraved map, in a hand-gilded frame, 31x46cm., (9) (part unframed) Provenance: Josef Paul Hodin 1905-1995 (may be subject to Droit de Suite)
Nora Davison fl.1881-c.1905- Eton College Gatehouse; watercolour, signed, 26x20.4cm: Ferdinand Giele 1867-1929- "Eton College-The Lower School", c.1918; etching, signed in pencil beneath the plate, 21.2x15cm: with another etching by the same artist of "Eton College-Stairs to the Chapel", c.1918, signed in pencil beneath the plate, 21.2x15cm, Note: Giele was born in Louvain and trained there as a graphic artist and printer, from 1916-1919 he lived in England and attended etching classes given by Sir Frank Short, he produced etchings of Oxford, Eton and Windsor during his time in England: British School, early 20th century- Eton College from across the water; watercolour, 24x32cm, (4)
British School, mid 19th century- A Tudor interior; pencil with touches of watercolour heightened with white, signed, inscribed and dated 1840, 33.5x50cm: Bartolomeo Pinelli, Italian 1781-1835- "Furio Cmmillo Libera Roma, dai Galli. Rollin Istoria Romana Tamo III", 1817; etching, 32x43cm: together with six other etchings of similar subjects by the same hand, 32x43cm., ea: Hansen, early-mid 20th century- Botanical study; hand-coloured etching, signed and inscribed, 25.3x9cm: The London Illustrated News, publ.- "Interior of The Crystal Palace Hyde Park 1851"; hand-coloured wood engraving, paper mounted on linen, folded 79x112cm., (10) (part unframed)
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