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Lot 322
Collection of prints and engravings, including a pair of engravings after Marie Louise A.Boizot (1744-1800) "Madame La Duchesse de Gramont", unframed, 34cm x 37cm (excluding mount), a signed etching depicting the Palazzo da Mosta, Venice, a watercolour river landscape, signed C Lytton and dated 1901, a folio containing prints of contemporary Chinese paintings and a carved wooden picture frame, circa 1900 (6)
Lot 478
Two Kosta 'Seaweed' vases,1960s, each designed by Vicke Lindstrand, of ovoid form with trailing green inclusions, with a relief etching of a fish to the exterior, signed to the base, largest 17cm wide27cm high (2)Condition ReportBoth with some scuffs and marks to the underneath. Some minor scratches occurring.
Lot 7197
Thomas Gray: 'Elegy Written in a Country Churchyard', London, Joseph Cundall/The Etching Club, 1847, unpaginated proofs on India Paper, mounted on heavy cardboard and bound in withcloth strip hinges, circa early 20th Century fine three quarter red crushed levant morocco, bound by James MacDonald Co, Art Bookbinder New York, binding signed verso FFEP "Bound by Macdonald N.Y." at head of page, rest of covers and endpapers marbled, spine gilt in compartments, raised bands, silk head and tail bands, allpage edges gilt, leaves with moderate spotting/foxing throughout. Gray’s Elegy was a great Victorian favourite and reprinted with illustrations many times over the century. (Cundall – see below - published another illustrated edition of the poem in 1855). Gray’s classic text is here printed in sepia, together with 28 illustrations by 8 members of The Etching Club, together on 18 proof plates. The Etching Club was an artists' society founded in London in 1838 by Charles West Cope who did 5 of the 28 illustrations in this volume. The club published illustrated editions of works by authors such as Thomas Gray. It effectively ceased to exist in 1878. In addition to Cope, the other illustrators are Thomas Creswick, Charles Stonhouse, Richard Redgrave, Henry JamesTownsend, John Frederick [‘Fred’] Tayler [sic], John Callcott Horsley and John Bell. All arelisted in Houfe except the last (Bell) who only did one of the illustrations. The book was puttogether for the club by Joseph Cundall who at this time acted as publisher for them, andproduced several desirable volumes including Milton’s ‘L’Allegro’ and Goldsmith’s ‘TheDeserted Village’. Cundall was ‘the publisher with the most devoted concern for book design inmid-nineteenth century England’ [McClean, p. 141]. A very scarce version of Gray's Elegy in a fine binding by one of the most important binderies in the United States
Lot 1637
Robert Strange after Van Dyke, engraving, 'Carolo I Magnae Britanniae Regi', printed by Robbe, visible sheet 63 x 48cm Engraving with etching of Charles I as king. Whole length with long hair, beard, brimmed hat, lace collar, doublet, and breeches, with a sash over right shoulder. Depicted standing with left hand on hip and right resting on a cane, accompanied by a squire and the Marquis of Hamilton, who attends to the King's horse. With a large tree to the right of the figures and a view of a landscape in the background.A print after the famous painting Charles I at the Hunt, or Le Roi à la chasse, by Sir Anthony van Dyck. The original portrait, painted in 1635, depicts Charles I in an informal manner pausing on a hunt dressed in civilian attire. The original portrait can be found in the Louvre, Paris
Lot 100
AFTER HENRI MATISSE, L'Espagnole, aquatint and roulette with etching in colours 1925, engraved by Jacques Villon on Velin D'Arches paper, printers proof, engraved notice 'Grave par Jacques Villon 1925' upper left, lower left 'H. Matisse Pinxt' and lower right ' Jacques Villon Sci', 65cm x 50cm.
Lot 225
After John Crome (1768-1821)"Hall Moor Road, near Hingham"Etching, together with a further etching after Crome depicting a rural landscape with windmill, 19cm by 23.5cm and 17.5cm by 25.5cm respectively (2)Hall Moor Road as left by Crome and published by Mrs CromeProvenance: William Weston Gallery Ltd., LondonDear Mr Raine, Please see below the condition report for Lot 225, the last of your requests. Id anything is unclear or you have any further questions then please do give me a call and I'd be happy to discuss with you.Hall Moor Road - Large tear to upper left corner with a section of the paper missing. Approx 1cm across by 3cm high. Heavy yellowing and time staining to sheet. Sporadic small to medium sized foxing spots. The odd handling mark. Not examined out of the frame. Second example - Time staining and general fading to sheet overall. Cluster of foxing spots to lower right corner, approx 1cm by 3cm patch. Dirt and debris trapped under glass. Crease from bottom of sheet centre left lower edge extending into the sheet towards base of tree, approx. 3cm. Not examined out of the frame. Kind regardsGuy
Lot 226
After John Crome (1768-1821)"Landscape with a Wooden Bridge""Farm Buildings by a Pool"Etching, together with three further etchings after Crome, "At Woodrising", "Rustic Road with Thatched Barn", "At Scoutton", 17cm by 20.5cm and 20.5cm by 21.5cm (five executed on two sheets)Provenance: William Weston Gallery Ltd., London
Lot 3135
(ca. 1510 Hertogenbosch - 1555 Groeningen) Der Triumph des Bacchus und des SilenusKupferstich/Bütten, 1543. R. u. in der Platte sign. u. dat.; Druck von 3 Platten auf 3 aneinander montierten Blättern. Sammlungsstempel (Lugt 1304). Ger. Läsuren. Blatt (gesamt) 31,3 cm x 87 cm.Uneinigkeit herrscht über die Quelle dieser Komposition. Sune Schéle vermutet, dass die Komposition auf einer Zeichnung von Marten van Heemskerk (1498-1574) basiert, während Stefania Massari nahelegt, dass die Komposition ursprünglich von Giulio Romano (c.1499-1546) stammt, inspiriert von einem Flachrelief im Palazzo del Te.Provenienz: Sammlung Baron Henri de Triqueti (1803 Conflans-sur-Loing - 1874 Paris).Etching on laid paper, 1543. Signed, dated and inscribed in the plate. Collection stamp of Henri de Triqueti (Lugt 1304). Minor flaws.
Lot 3139
(1606 Leiden - 1669 Amsterdam)"The Death of the Virgin" (Der Tod Mariä). OriginaltitelRadierung und Kaltnadel/Papier, um 1639. R. u. in der Platte sign. u. dat.; IV. Zustand von V (nach New Hollstein 173 IV/V) mit stark schattiertem Stuhl. Wasserzeichen Weintrauben und Text-Gegenmarke. Verso diverse Bez. sowie Sammlungsstempel in Blau (Lugt 5818). Vereinzelt stockfleckig. Bis zur Einfassungslinie beschnitten. Blatt 39,3 cm x 31,3 cm. Rahmen. Provenienz: Sammlung des Wiener Pharmazeuts Richard Herrlinger (1881-1971) (Lugt 5818).Etching and drypoint on paper, circa 1639. Signed and dated 1639 in the plate. Fourth state of five (after New Hollstein 173 IV/V). Bunch of Grapes watermark and text-based countermark. Collector's stamp Richard Herrlinger (Lugt 5818) on the reverse. Trimmed to border line. Minor fox stains.
Lot 3141
(1607 Leiden - 1674 Amsterdam)"Bust of an old man with a large white Beard" (Büste eines alten Mannes mit langem, weißem Bart). OriginaltitelRadierung/Papier, um 1640. In der Platte monogr., mit Verlegervermerk. Erschienen bei Salomon Savery (Amsterdam 1594 - 1678). Verso mit verschiedenen, handschriftlichen Bezeichnungen sowie einem Sammlungshinweis. Hollstein 78 (XI). Beschnitten bis knapp vor den Plattenrand. Platte 18,6 cm x 14 cm. Blatt 18,9 cm x 14,3 cm. Rahmen.Etching on paper, circa 1640. Inscribed with initials and publisher's note in the plate. Published by Salomon Savery (1594 - 1678). Trimmed almost to platemark.
Lot 3143
(1640 Weil a. R. - 1710 Paris)BacchanalieRadierung/Bütten (Wasserzeichen), 1689. In der Platte auf einer Banderole bez. sowie mit typografischem Vermerk. Nach einer Vorlage von Raymond Lafage (1656 - 1707). Erschienen bei van der Bruggen in Paris. Ger. stockfleckig. Platte 31,8 cm x 46,7 cm. Blatt 37,1 cm x 50,5 cm. Etching on laid paper (watermark) by Franz Ertinger after Raymond Lafage, published by van der Bruggen in Paris, 1689. Minor foxing.
Lot 3145
(1685 Erfurt - 1752 Dresden)"Prospect der Chur Sächsischen Bergvestung Königstein und der umliegenden Gegend, von der abend Seite". OriginaltitelRadierung/Papier, 1726. Unterhalb sign. dat. und deutsch-französisch betitelt sowie mit Dedikation an August den Starken, Kurfürst von Sachsen und König von Polen. Blatt Nr. 2 aus der sechsteiligen Folge "Ansichten aus der sächsischen Schweiz". Gebräunt. Plattenmaß ca. 36 cm x 55 cm. Rahmen.Etching on paper, 1726. Signed, dated and titled. Major light toning.
Lot 3160
(1746 Fuendetodos/Aragón - 1828 Bordeaux)"El Caballo Raptor" (Das Pferd als Entführer). OriginaltitelRadierung/Bütten, um 1820. Blatt 10 aus der Folge "Los Disparates". Platte 24 cm x 35 cm. Blatt 31 cm x 43,5 cm. Etching on laid paper, circa 1820. Plate no. 10 from the suite "Los Disparates".
Lot 3190
(1872 Bremen - 1942 Kolchos Budjonny/Kasachstan)"Am Quell". OriginaltitelRadierung in Grün/Papier, 1894. Wvz. Rief 1 IIb oder c. R. u. in der Platte monogr.; Plattenmaß 25 cm x 15 cm.Die Platte für diese erste Radierung Vogelers wurde 1924 zerstört.Etching in green on paper, 1894. Signed with monogram on the plate.
Lot 3191
(1872 Bremen - 1942 Kolchos Budjonny/Kasachstan)"Am Quell". OriginaltitelRadierung in Grün/Bütten, 1894. R. u. sign.; In der Platte monogr.; Wvz. Rief 1 IIb oder c. Ger. fleckig u. gebräunt. Platte 24,7 cm x 15 cm. Blatt 36,5 cm x 25,1 cm. Provenienz: Sammlung Hans und Emmi Hackmack, Hamburg/Bremen.Etching in green on laid paper, 1894. Hand-signed. Slightly stained and darkened.
Lot 3192
(1872 Bremen - 1942 Kolchos Budjonny/Kasachstan)"Verkündigung". OriginaltitelRadierung in Blaugrün/Papier, 1895. R. u. sign. mit Worpsweder Wappenschild u. betitelt. Zusätzlich r. u. in der Platte sign.; Überdies l. u. sign. vom Drucker Otto Felsing, Berlin. Wvz. Rief 10 IId. Ger. nachgedunkelt. Platte 24,8 cm x 20 cm. Blatt 31,5 cm x 24,6 cm. Provenienz: Sammlung Hans und Emmi Hackmack, Hamburg/Bremen.Etching in blue-green on paper, 1895. Hand-signed and inscribed with title. Also hand-signed by the printer O. Felsing, Berlin. Slightly darkened.
Lot 3193
(1872 Bremen - 1942 Kolchos Budjonny/Kasachstan)"Die Hexe II". OriginaltitelRadierung/Papier, 1895. R. u. sowie in der Platte sign.; Wvz. Rief 8b. Leicht fleckig und lichtrandig. Platte 21,5 cm x 15,7 cm. Blatt 31,2 cm x 20 cm. Provenienz: Sammlung Hans und Emmi Hackmack, Hamburg/Bremen.Etching on paper, 1895. Hand-signed. Minor stains.
Lot 3195
(1872 Bremen - 1942 Kolchos Budjonny/Kasachstan)"Die Nacht". OriginaltitelRadierung in Dunkelblau/Papier, 1897. R. u. ligiert sign. u. in der Platte sign. mit Worpsweder Wappenschild. Überdies l. u. sign. vom Drucker Otto Felsing, Berlin. Verso betitelt, dat. u. mehrfach bez.; Wvz. Rief 21 IIc. Leicht fleckig u. knickfaltig. Platte 24 cm x 18 cm. Blatt 30 cm x 23,2 cm. Provenienz: Sammlung Hans und Emmi Hackmack, Hamburg/Bremen.Etching in dark blue on paper, 1897. Hand-signed and signed with coat of arms in the plate. Inscribed and dated on the reverse. Minor staining and creasing.
Lot 3196
(1872 Bremen - 1942 Kolchos Budjonny/Kasachstan)"Tod und Alte". OriginaltitelRadierung in Blaugrün/Bütten, 1896. In der Platte sign. mit Worpsweder Wappenschild. Wvz. Rief 11d. Min. lichtrandig. Darstellung 14,4 cm x 7,8 cm. Blatt 24,5 cm x 16,6 cm. Provenienz: Sammlung Hans und Emmi Hackmack, Hamburg/Bremen.Etching in blue-green on laid paper, 1896. Signed with coat of arms in the plate. Very slight staining to the cut-outs of the passepartout.
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71174 item(s)/page