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Click here to subscribeDamien Hirst, b. 1965 CINEOLE signed; signed and numbered 38/145 on the reverse colour etching diameter: 86cm.; 33.5in. sheet: 115 by 112cm.; 45 by 44in. Executed in 2004 and printed by Paragon Press in an edition of 145. Provenance Paragon Press, London Acquired from the above by the present owner
Studio Special Numbers.. Design in the Theatre, 1927, Designing for the Stage, by Doris Zinkeisen, 1948, Lettering of To-Day, edited by C.G. Holme, 1941, Colour Photography and other Recent Developments of the Art of the Camera, 1908, Modern Etching and Engraving, European and American, 1902, Modern Etchings, Mezzotints and Dry-Points, 1912-13, numerous col. and b & w illusts., together with twenty-two similar, folio (28)
*Etchings and engravings. A collection of twenty-five various etchings, etc., mostly late 19th and early 20th c., including four etchings by D. C. Read (Near Southampton, Landscape with barge in the foreground, Coniston, Morning, & Castle and Lake), an etched view of the Rio dei Greci, Venice by J. Alphege Brewer, an etching by Stewart Robertson, of Old Buildings, Kingston, two etched views of the Seine, Paris, each signed Kelly, and dated 1925 & 1927, an album of etched views of the Rhein by Heinrich Reifferscheid, pub. 1924, etc., mostly loose (a few mounted) (25)
*Etchings, etc. A collection of various late 19th and early 20th c. etchings, etc., including a large view of Royal Windsor by C. O. Murray, after Niels M. Lund, pub. 1907, six copies of a large mezzotint landscape by Frank Short, each signed, with some staining and spotting to margins, two photogravure b&w reprods. after paintings of game birds by Archibald Thorburn, each signed in pencil, an etched landscape after D. W. Leader, signed by the engraver and artist, two etchings on silk after John Pettie, a colour mezzotint by Alfred J. Skrimshaw after Turner's Fighting Temeraire, a colour lithograph of a bridge on the Thames by Cecil Aldin, signed in pencil, mounted on card, and trimmed to margins, plus three copies of an etching by Arthur Garratt, depicting Rodin at work in his studio, each signed in pencil, etc. (approx. 25)
*Piranesi (Giovanni Battista, 1720-1778). Veduta delle antiche Sostruzioni fatte da Tarquinio Superbo dette il Bel Lido..., uncoloured etching, numbered 741 to top right corner, with circular blindstamp of the Regia Calcografia Roma, to lower right corner, plate size approx. 450 x 580mm. (17.75 x 22.75 ins), framed and glazed (1)
*Piranesi (Giovanni Battista, 1720-1778). Veduta interna del Sepolcro di S. Costanza, Fabbricato da Costantino Magno ..., [Rome, late 18th c.], etching, some staining and surface soiling, central vertical crease, plate size approx. 412 x 550 mm, together with a damaged copy of Piranesi's 1766 engraving entitled A View of Part of the Intended Bridge at Blackfrairs London, with some loss to left hand margin (w.a.f.), approx. 400 x 600 mm, plus Vertue (George), The View of The Charity-Children in The Strand, upon the VII of July MDCCXIII, being the day appointed by Her Late Majesty Queen Anne for a publick Thanksgiving for the Peace ..., pub. 1715, engraving, some soiling and foxing, some damage to margins, with portion to upper right hand margin missing, plate size approx. 380 x 650 mm, and Pocock (Nicholas), Conway Castle in North Wales, aquatint by Wells after Pocock, some staining and discol., plt. size approx. 520 x 720 mm, mounted on card, plus other 18th and 19th c. large-format prints and engravings, generally in distressed condition (approx. 40)
*Boxing. Alken (Henry), A Prize Fight, pub. T. McLean, 1820, hand coloured aquatint, some marginal fraying, 200 x 300 mm, together with an original broadside ballad entitled ‘Mace and Victory' relating to the fight between Jem Mace and Tom King in 1862, with a large wood engraved illustration, torn to corner with some loss, plus another broadside entitled ‘A New Song on Coburn & Mace' relating to the 1871 fight with the American Joe Coburn, both 243 x 192 mm, plus a late 19th century restrike of a Cruikshank etching entitled ‘A Sparring Match at the Fives Court' (approx. 175 x 220 mm). (4)
E * MAGES after Rowland Hilder, A Kentish landscape with oast house, inscribed in pen verso and dated 1962, watercolour, 21 1/2" x 30" and two other works to include 'Timber Felling in Essex' after Michael Rothenstein, printed at the Baynard Press and an etching 'Mittenwald' by Hans Figura, the last item unframed (3).
Ramsay (mid 19th century) Portrait of a lady, half length, believed to by Jane Donkin (1802-1862), of Houghton Castle, Northumberland Oil on canvas Indistinctly signed and dated 1845 lower right 76cm x 63cm Unframed Jane Donkin of Sandoe, later Mrs William Smith of Houghton Castle, Humshaugh, Northumberland. Included with the lot is a canvas sampler dated 1814, worked by Jane Donkin, and a hand coloured etching of Houghton Castle. Houghton Castle is situated on the banks of the North Tyne, close to the village of Barrasford. The castle, dating back to the 14th century, is inhabited and partially modernised.
* John B Maltby (1936-). "Norwich Market". Signed, black and white etching, 11cm by 16cm;. and Another, depicting figures and zebras, unsigned, black and white, etching, 10.5cm by 14.5cm (2). John B Maltby. Born 1936, Cleethorpes, Lincolnshire. Training Leicester College of Art, sculpture, 1956-9. Goldsmiths' College, teacher training with etching and pottery, 1959-60.
fRANK AUERBACH (B. 1931) jULIA, 2001 signed and numbered in pencil, etching, edition of 150, number 41/150 11cm x 14.5cm (plate size) Sold as part of a limited edition catalogue to the Royal Academy of Art'S exhibition: Frank Auerbach: Paintings & Drawings 1954-2001, 14th September-12th December 2001
lUCIAN FREUD (1922) tHE HEAD OF ALI, 1999 signed and numbered in pencil, etching, printed on white Somerset textured paper, edition of 46, number 33/46. Proofed and printed by Marc Balakjian at Studio Prints, London, published by Matthew Marks Gallery, New York. Hartley 59 58.5cm x 41.5cm (plate size)
lUCIAN FREUD (1922) hEAD AND SHOULDERS, 1982 signed and numbered in pencil, etching, printed on white Somerset textured paper, edition of 20, number 1/20, final state, printed on wove paper. Proofed and printed by Terry Wilson of Palm Tree Studios, with their blindstamp. Hartley 21 24cm x 29cm (plate size)
hENRY MOORE (1898-1986) mOTHER AND CHILD II, 1983 signed and numbered in pencil, etching and aquatint, from Mother and Child portfolio, edition of 65, with 15 H.C.'s, number 43/65. Printed by James Collyer and John Crossley, London 1983-1986, published by Raymond Spencer Company Ltd for the Henry Moore Foundation. 16cm x 22cm (plate size)
hENRY MOORE (1898-1986) mOTHER AND CHILD V , 1983 signed and numbered in pencil, etching and aquatint and roulette, from Mother and Child portfolio, edition of 65, with 15 H.C.'s, number 43/65. Printed by James Collyer and John Crossley, London 1983-1986, published by Raymond Spencer Company Ltd for the Henry Moore Foundation. 27.5cm x 21cm (plate size)
hENRY MOORE (1898-1986) mOTHER AND CHILD VII, 1983 signed and numbered in pencil, etching and aquatint and roulette, from Mother and Child portfolio, edition of 65, with 15 H.C.'s, number 43/65. Printed by James Collyer and John Crossley, London 1983-1986, published by Raymond Spencer Company Ltd for the Henry Moore Foundation. 25cm x 30cm (plate size)
hENRY MOORE (1898-1986) mOTHER AND CHILD IX , 1983 signed and numbered in pencil, etching, from Mother and Child portfolio, edition of 65, with 15 H.C.'s, number 43/65. Printed by James Collyer and John Crossley, London 1983-1986, published by Raymond Spencer Company Ltd for the Henry Moore Foundation. 21.5cm x 21.5cm (plate size)
hENRY MOORE (1898-1986) mOTHER AND CHILD XIII, 1983 signed and numbered in pencil, etching and aquatint and roulette, from Mother and Child portfolio, edition of 65, with 15 H.C.'s, number 43/65. Printed by James Collyer and John Crossley, London 1983-1986, published by Raymond Spencer Company Ltd for the Henry Moore Foundation. 32cn x 25.5cm (plate size)
hENRY MOORE (1898-1986) mOTHER & CHILD XIV , 1983 signed and numbered in pencil, etching and aquatint, from Mother and Child portfolio, edition of 65, with 15 H.C.'s, number 43/65. Printed by James Collyer and John Crossley, London 1983-1986, published by Raymond Spencer Company Ltd for the Henry Moore Foundation. 24cm x 18.8cm (plate size)
hENRY MOORE (1898-1986) mOTHER & CHILD XVI, 1983 signed and numbered in pencil, etching and aquatint, from Mother and Child portfolio, edition of 65, with 15 H.C.'s, number 43/65. Printed by James Collyer and John Crossley, London 1983-1986, published by Raymond Spencer Company Ltd for the Henry Moore Foundation. 34.5cm x 36.5cm
hENRY MOORE (1898-1986) mOTHER AND CHILD XVIII, 1983 signed and numbered in pencil, etching and aquatint and roulette, from Mother and Child portfolio, edition of 65, with 15 H.C.'s, number 43/65. Printed by James Collyer and John Crossley, London 1983-1986, published by Raymond Spencer Company Ltd for the Henry Moore Foundation. 35cm x 27cm (plate size)
hENRY MOORE (1898-1986) mOTHER & CHILD XXIX, 1983 signed and numbered in pencil, etching and aquatint and drypoint, from Mother and Child portfolio, edition of 65, with 15 H.C.'s, number 43/65. Printed by James Collyer and John Crossley, London 1983-1986, published by Raymond Spencer Company Ltd for the Henry Moore Foundation. 21cm X 27cm (plate size)
hENRY MOORE (1898-1986) mOTHER AND CHILD XXII, 1983 signed and numbered in pencil, etching and aquatint and roulette, from Mother and Child portfolio, edition of 65, with 15 H.C.'s, number 43/65. Printed by James Collyer and John Crossley, London 1983-1986, published by Raymond Spencer Company Ltd for the Henry Moore Foundation. 22cm x 17.5cm (plate size)
hENRY MOORE (1898-1986) mOTHER & CHILD XXVI, 1983 signed and numbered in pencil, etching and aquatint and roulette, from Mother and Child portfolio, edition of 65, with 15 H.C.'s, number 43/65. Printed by James Collyer and John Crossley, London 1983-1986, published by Raymond Spencer Company Ltd for the Henry Moore Foundation. 22.5cm x 15.5cm (plate size)
hENRY MOORE (1898-1986) mOTHER & CHILD XXVIII, 1983 signed and numbered in pencil, etching and aquatint and drypoint, from Mother and Child portfolio, edition of 65, with 15 H.C.'s, number 43/65. Printed by James Collyer and John Crossley, London 1983-1986, published by Raymond Spencer Company Ltd for the Henry Moore Foundation. 35cm x 27cm (plate size)
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