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Click here to subscribeJoan Miro Untitled, from Eric Satie, Poems and Songs (D. 523) etching and aquatint in colours, 1969, on Arches, inscribed H.C. (there was no published edition), published by Broder, Paris, with full margins, two tiny pinholes to the right and left of the printed image, occasional soft creasing in the margins, otherwise in good condition P., 140 x 355mm., S. 380 x 548mm.
Joan Miro Untitled, from Eric Satie, Poems and Songs (D. 522) etching and aquatint in colours, 1969, on Arches, inscribed H.C. (there was no published edition), published by Broder, Paris, with full margins, two tiny pinholes to the right and left of the printed image, occasional soft creasing in the margins, otherwise in good condition P., 140 x 355mm., S. 380 x 548mm.
Joan Miro Plate IV, from Fundacio Palma etching and aquatint in colours with carborundum, 1985, on Guarro, with stamped signature, inscribed H.C., one of fifteen hors commerce copies, aside from the edition of 80, published by Sala Gaspar, Barcelona, printed to the edges of the full sheet, soft creasing at the extreme left sheet edge, otherwise in good condition L., S. 1055 x 695mm.
Henry Moore Stonehenge (C. 202, 203, 207-223) the complete portfolio, 1972-1973, deluxe edition with the additional lithograph and two etchings, comprising title, text, justification and the suite of sixteen lithographs and three etchings (including the title page etching), each signed and numbered in pencil, published by Ganymed Original Editions, 1974, loose in original vellum covered box, with title, in cloth-covered slip case, in very good condition(portfolio)S. 454 x 584mm.
Henry Moore Plate 7, from Mother and Child (C. 707) etching and aquatint in sepia, 1983, on wove paper, signed in pencil, inscribed HC 10/10, a hors commerce copy aside from the numbered edition of 50 (there were also fifteen artist's proofs), published by Raymond Spencer Company Ltd., Much Hadham, with wide margins, apparently in very good condition, unexamined out of the frame P. 95 x 123mm., S. 375 x 320mm.
Henry Moore Plate 6, from Mother and Child (C. 706) etching and aquatint in sepia, 1983, on Arches, signed in pencil, inscribed HC 10/10, a hors commerce copy aside from the numbered edition of 50 (there were also fifteen artist's proofs), published by Raymond Spencer Company Ltd, Much Hadham, with wide margins, apparently in very good condition, unexamined out of the frame P. 123 x 100mm., S. 375 x 320mm.
Henry Moore Plate 2, from Mother and Child (C. 702) etching and aquatint in sepia, 1983, on Arches, signed in pencil, inscribed HC 10/10, a hors commerce copy aside from the numbered edition of 50 (there were also fifteen artist's proofs), published by Raymond Spencer Company Ltd, with wide margins, apparently in very good condition, unexamined out of the frame P. 95 x 123mm., S. 375 x 320mm.
Henry Moore Turning Figure No. 2 (C. 176) etching in grey and black, 1971, on Rives, signed in pencil, numbered 35/50 (there were also ten artist's proofs), published by Fisher Fine Art, London, with full margins, pale light-staining, discoloration at the sheet edges, otherwise in good condition, framed P. 233 x 137mm., S. 436 x 306mm.
Pablo Picasso L'Atelier (Bl. 80; B. 121b) etching, 1927, on wove paper, with signature in red ink, with numbering 149/150, with full margins, a dark stain at the upper right sheet corner away from the image, mount-staining, a pale moisture stain in the lower margin, occasional pale foxing, otherwise generally in good condition P. 350 x 395mm., S. 410 x 475mm.
Graham Sutherland Hatching II etching and aquatint in colours, 1977, on wove paper, signed in pencil, numbered 25/40 (Tassi calls for an edition of 50 with a smaller plate dimension), with full margins, minor creasing and a few pale fox marks in the margins, a light mark to the upper right sheet corner, otherwise in good condition P. 398 x 310mm., S. 670 x 488mm.
Graham Sutherland Bee Keeper, from The Bees (T. 190) etching and aquatint in colours, 1977, on wove paper, signed in pencil, numbered 49/66 (there were also fourteen numbered in Roman numerals and twenty hors commerce copies), published by Marlborough Fine Art Ltd., London and 2RC Editrice, Rome, with full margins, a small vertical mark at the upper left sheet edge, pale discoloration in the right margin, otherwise in good condition P. 400 x 315mm., S. 565 x 449mm.
Julian Trevelyan Ischia etching and aquatint in colours, on wove paper, signed and titled in pencil, inscribed Artist's Proof, with margins, occasional pale foxing at the edges of the plate, very pale discoloration in the right margin, otherwise in good condition P. 345 x 473mm; with The Plough and Thames, etchings and aquatints in colours, each signed and titled in pencil, inscribed 'Artist's Proof' (3)
Jacques Villon after Fernand Leger Femme a la Cruche (G&P E657) etching and aquatint in colours, 1928, on Arches, signed in ink (faded), numbered 147/200, published by Galerie Bernheim-Jeune, Paris, with wide margins, light- and mount-staining, the signature very faint, a very small moisture stain at the lower left sheet corner, remains of old tape to the sheet edges on the reverse, otherwise generally in good condition P. 475 x 315mm., S. 650 x 495mm.
Frank Auerbach (b.1931) R.B. Kitaj, from Six Etchings of Heads (Marlborough 10) etching in grey and black, 1980, on Arches, signed, dated and titled in pencil, numbered 13/50 (there were also ten artist's proofs), published by Marlborough Fine Art, London, with full margins, in very good condition P. 150 x 135mm., S. 400 x 345mm.
Frank Auerbach Julia, from Six Etchings of Heads (Marl. 14) etching, 1981, on Arches, signed, dated and titled in pencil, numbered 13/50 (there were also ten artist's proofs), published by Marlborough Graphics, London, with full margins, pale light-staining, otherwise in good condition P. 135 x 150mm., S. 390 x 335mm.
Frank Auerbach Joe Tilson, from Six Etchings of Heads (Marl. 9) etching, 1981, on wove paper, signed, dated and titled in pencil, numbered 13/50 (there were also ten artist's proofs), published by Marlborough Graphics, London, with full margins, a very soft crease to the extreme upper left sheet corner, a little surface dirt at the lower sheet edge, otherwise in good condition P. 155 x 140mm., S. 405 x 340mm.
Eduardo Chillida Ulertu (K. 73018) etching, 1973, on japon mounted on BFK Rives, signed in pencil, inscribed 'H.C.', one of seven hors commerce copies aside from the edition of 50 (there were also seven artist's proofs), published by Maeght, Paris, with wide margins, the full sheet, in very good condition P. 140 x 100mm., S. 450 x 355mm.
A collection of prints by Gisele Celan-Lestrange (b.1927) comprising fourteen etching, a few with aquatint, 1966-77, on wove paper, each signed and numbered in pencil, with minor blemishes, otherwise generally in good condition P. 375 x 520mm., S. 505 x 565mm. (and smaller); and a watercolour, 1979, signed in black crayon (15)
Stanley William Hayter (1901-1988) Feu sous l'eau (Black and Moorhead 221) etching, engraving and screenprint in colours, 1955, on BFK Rives, signed, dated and titled in pencil, numbered 35/50 (there were also ten artist's proofs), published by La Jeune Gravure Contemporaine, Paris, with full margins, a little surface dirt and unobtrusive soft creasing in the left margin, two tiny ink stains in the right margin, otherwise in good condition P. 262 x 178mm., S. 447 x 318mm.
Stanley William Hayter Nageuse (B&M. 241) etching and aquatint in colours, 1958, on BFK Rives, signed, dated and titled in pencil, numbered 1/50 (there were also five artist's proofs), with margins, a pressure mark at the extreme left sheet edge, a small fox mark in the upper margin, minor surface dirt in the margins, otherwise in good condition P. 406 x 325mm,. S. 685 x 505mm.
Stanley William Hayter Albatross (B&M. 365) etching in colours, 1973, on BFK Rives, signed and dated in pencil, numbered 99/100 (there were also 25 artist's proofs), published by Editione M'Arte, Milan, with full margins, a tiny tear at the lower sheet edge, soft creasing in the margins, otherwise in good condition P. 491 x 513mm., S. 550 x 750mm.
David Hockney In an old book, from Fourteen Poems by C.P. Cavafy (Scottish Arts Council 6) etching, 1966, on Crisbrook, signed and dated in pencil, numbered 40/75 (there were also fifteen artist's proofs), published by Editions Alecto, London, with full margins, light- and mount-staining, a stain in the upper left margin on the plate mark but not extending into the image, remains of old tape to the left and right sheet edges on the reverse, other minor blemishes, framed P. 470 x 335mm., S. 560 x 400mm.
David Hockney The carpenter's bench, a knife and fire, from Illustrations for six fairy tales from the Brothers Grimm (S.A.C. 24) etching and aquatint with drypoint, 1969, on Hodgkinson, signed in pencil, numbered 43/100, published by Petersburg Press, London, with margins, pale scattered foxing mainly in the image and to the reverse, light-staining and remains of old glue in the margins P. 153 x 172mm., S. 292 x 293mm.; and Corpses on Fire (S.A.C. 22), from the same series, signed in pencil, numbered 72/100 (2)
David Hockney Made in April, from The Blue Guitar (S.A.C. 209) etching and aquatint in blue and red, 1977, on wove paper, signed in pencil, numbered 10/200 (there were also 37 artist's proofs), published by Petersburg Press, New York and London, with full margins, in very good condition P. 345 x 425mm., S. 460 x 530mm.; and The Blue Guitar (S.A.C. 199), frontispiece from the same series (2)
David Hockney In a chiaroscuro, from The Blue Guitar (S.A.C. 207) etching and aquatint in colours, 1976-77, on wove paper, signed in pencil, numbered 10/200 (there were also 37 artist's proofs), published by Petersburg Press, New York and London, with full margins, in very good condition P. 345 x 425mm., S. 460 x 530mm.
David Hockney Figure with still life, from The Blue Guitar (S.A.C. 208) etching and drypoint in colours, 1976-77, on wove paper, signed in pencil, numbered 10/200 (there were also 37 artist's proofs), published by Petersburg Press, New York and London, with full margins, in very good condition P. 425 x 345mm., S. 530 x 460mm.
David Hockney What is this Picasso, from The Blue Guitar (S.A.C. 218) etching and aquatint in colours, 1976-77, on wove paper, signed in pencil, numbered 10/200 (there were also 37 artist's proofs), published by Petersburg Press, New York and London, with full margins, in very good condition P. 345 x 425mm., S. 460 x 530mm.
David Hockney It picks its way, from The Blue Guitar (S.A.C. 202) etching and aquatint in blue and red, 1976-77, on wove paper, signed in pencil, numbered 10/200 (there were also 35 artist's proofs), published by Petersburg Press, New York and London, with full margins, in very good condition P. 345 x 425mm., S. 460 x 530mm.
Jaspar Johns (b.1930) Wallace Stevens, Some Poems, The Arion Press, San Francisco, 1985 (Field 234) etching and aquatint, on laid paper, with title, text and justification, signed in pencil, inscribed 'S' on the justification, from the edition of 26 numbered alphabetically (there was also a numbered edition of 300), with full margins, in very good condition, bound in pale grey covers, in a blue box with the title printed in silver on the spine S. 335 x 250mm. (overall); and Susan Sontag, Dancers on a Plane: John Cage, Merce Cunningham, Jaspar Johns, Anthony d'Offay Gallery, London, 1989, the book, signed in black ink by Cage, Cunningham and Johns on the frontispiece, number 108/200(books) (2)
Donald Judd [Untitled] etching, 1978, on wove paper, signed and dated in pencil, numbered 19/75, published by Styria Studio, with margins, two repaired splits in the upper right margin, a short abrasion running through the signature, a little soft creasing, otherwise generally in good condition, framed P. 560 x 685mm., S. 760 x 885mm.
Leon Kossoff Fidelma and Eoin etching printed with tone, 1988, on wove paper, signed and dated in pencil, inscribed 'A/P', with margins, four hard creases in the right margin, other soft creasing, unexamined out of the frame P. 505 x 460mm., S. 770 x 580mm.; with another etching and aquatint, 1978, signed and dated in pencil, inscribed 'T/P' (2)
Roberto Matta (1911-2002) Seven plates, from Les Oh! Tomobiles (Ferrari 60 - 69) etching and aquatints in colours, 1973, on japon nacre, each signed in pencil, numbered 66/100 (there were also 25 hors commerce copies), published by G. Visat, Paris, with full margins, the upper sheet corners glued to the backing on the reverse, the occasional fox mark in the margins, otherwise generally in good condition P. 420 x 558mm., S. 515 x 660mm.; and a lithograph in colours, signed in pencil, numbered 89/180 (8)
Victor Pasmore Untitled (Lynton page 140) etching and aquatint in brown and black, 1974, on wove paper, signed in pencil, inscribed A/P, one of twenty proofs aside from the edition of 55, published by Marlborough Gallery Inc, New York, with full margins, overall pale scattered foxing, staining and discoloration to the upper and lower sheet edges, other minor blemishes P. 375 x 375mm., S. 608 x 718mm; with Spiral Motif, etching and aquatint in brown, signed in pencil, inscribed A/P (2)
Victor Pasmore Two plates, from Metamorphosis (Linear Motifs) - A Suite of Eight Images (B&L. 57.1-2) two etching and aquatints in colours, 1971, on wove paper, each signed in pencil, proofs aside from the numbered edition of 55, published by Marlborough Graphics, London, with full margins, a little minor surface dirt and discoloration in the margins, otherwise in very good condition P. 292 x 374mm., S. 610 x 712mm. P. 273 x 371mm., S. 610 x 712mm. (2)
Victor Pasmore Blue Development (B&L. 44) etching and screenprint in blue and black, 1974, on wove paper, signed in pencil, a proof aside from the numbered edition of 60, published by Marlborough Graphics, with full margins, a pale band of discoloration to the extreme right sheet edge, a few very pale fox marks in the lower margin, otherwise in good condition P. 705 x 606mm., S. 375 x 375mm.
Victor Pasmore Senza Titolo IV (L. 57) etching and aquatint in colours, 1989, on Fabriano paper, signed and dated in pencil, numbered 77/90 (there were also fifteen artist's proofs), published by Marlborough Graphics Ltd, London, with full margins, a few scattered fox marks in the left margin, otherwise apparently in good condition, unexamined out of the frame P., 495 x 995mm, S. 700 x 1400mm
Victor Pasmore Blue Mandala (B&L. 66) etching and aquatint in colours, 1978, on wove paper, signed and dated in pencil, numbered 83/90, published by 2RC Workshop, Rome, with full margins, hard creases to the upper left and lower right sheet corners, general creasing to the printed surface and in the margins, a fox mark in the lower left corner of the image, otherwise generally in good condition P. 520 x 520mm., S. 750 x 991mm
Antoni Tapies Les Quatre Coins (G. 232) etching and aquatint in black and grey, 1970, on wove paper, signed in pencil, numbered 15/75, published by Maeght Editeur, Paris, with full margins, a little soft creasing at the upper sheet edge, otherwise in good condition P. 350 x 500mm., S. 580 x 775mm.
Antoni Tapies Jean Fremon, Equation, Daniel Lelong, 1987 the set of five aquatints in colours, on Arches, with title, text and justification, the first and last etching signed in pencil, number 8 from the edition of 25 (there was also an edition of 50 and 20 hors commerce copies), printed to the edges of the full sheets, in very good condition, loose in paper covers, within brown paper-covered boards and slipcase, in very good condition(portfolio)S. 315 x 250mm. (overall)
Joe Tilson Air Mantra (V.A.G. 50) etching and aquatint in colours with collage, 1979, on wove paper, signed and dated in pencil, numbered 37/75, published by Waddington Graphics, London, with margins, a tiny tear at the right sheet edge, a little soft creasing in the margins, otherwise apparently in good condition, unexamined out of the frame P. 745 x 835mm.
Joe Tilson Eye Mantra (V.A.G. 51) etching and aquatint in colours with collage, 1979, on wove paper, signed and dated in pencil, numbered 70/75, published by Waddington Graphics, London, with margins, a short hard crease in the upper left margin, soft creasing at the sheet edges, otherwise apparently in good condition, unexamined out of the frame P. 745 x 835mm.
David Wurtzel Dante's Inferno, published by the artist, Florence, 1976 the set of eight etching and aquatints in colours, on Arches, with handwritten justification, each signed and titled in pencil, numbered 11/25, with full margins, in very good condition, loose in a beige solander folder P. 330 x 400mm., S. 495 x 640mm.
Damien Hirst (b. 1965) Global-a-go-go (for Joe), from In a spin, the action of the world on things: Volume I etching and aquatint in colours, 2002, on wove paper, signed in pencil, from the edition of 68, published by C. Booth-Clibborn and the Paragon Press, London, the full sheet, in very good condition, framed Image: 27 x 26in. (70.5 x 67cm.), Sheet: 36 x 28in. (91.5 x 71cm.)
Damien Hirst (b. 1965) My Way, from In a spin, the action of the world on things: Volume I etching and aquatint in colours, 2002, on wove paper, signed in pencil, from the edition of 68, published by C. Booth-Clibborn and the Paragon Press, London, the full sheet, in very good condition, framed Image: 23 x 15in. (60 x 40cm.), Sheet: 36 x 28in. (91.5 x 71cm.)
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