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Click here to subscribeδ Joan Miro (1893-1983)Untitled, from Le Miroir de L'Homme par les Bêtes (Dupin 567; Cramer 125)Etching with aquatint printed in colours, 1972, signed and inscribed 'H.C.' in pencil, an hors commerce impression aside from the edition of 200, on Bristol paper, with full (?) margins, sheet 437 x 316mm (17 1/8 x 12 3/8in)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
** Rembrandt van Rijn (1606-1669)Christ and the Woman of Samaria among RuinsEtching, circa 1634, a good bold impression of New Hollstein's third state (of five), with some light wear to the densely hatched areas printing with plate tone, on laid paper without watermark, platemark 122 x 107 mm (4 7/8 x 4 1/4 in), sheet 128 x 112 mm (5 x 4 1/2 in), small loss to upper right corner expertly repaired but with some stains from adhesive tab on verso, minor surface dirt (unframed)Provenance:Unidentified collector's stamp [not in Lugt]Literature:Bartsch 71; New Hollstein 127 iii/v** This lot has been imported from outside the United Kingdom to be sold at auction under temporary importation, and therefore the buyer must pay the import VAT at a rate of 5%. On proof of export outside the United Kingdom, this duty can be refunded.
δ Pablo Picasso (1881-1973)Peintre entre Deux Modèles, from Le Chef-d'Oeuvre Inconnu (Bloch 83; Cramer 20)Etching, 1927, signed in bistre, numbered from the edition of 99, printed by Louis Fort, published by Ambrose Vollard, Paris, on van Gelder holland paper, with full margins, sheet 380 x 497mm (15 x 19 1/2in)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
δ Pablo Picasso (1881-1973)Femme (Frontispiece for Picasso Oeuvres 1920-1926) (Bloch 56; Cramer 15)Etching, 1922-3, signed in pencil, from the edition of 50, published by Éditions Cahiers d'Art, Paris, on laid paper, with full margins, sheet 282 x 230mm (11 1/4 x 9in)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
δ Pablo Picasso (1881-1973) Rembrandt à la palette (Bloch 208)Etching, 1934, signed in pencil, from the edition of 250 (there was also an edition of 50 with wider margins), 'as included in The Vollard Suite', published by Ambroise Vollard, Paris, on Montval laid paper, with the Montval and the Picasso watermarks, with full margins, sheet 445 x 337mm (17 1/2 x 13 1/4in)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
** δ Pablo Picasso (1881-1973)Deux Femmes Nues (Bloch 132)Etching, 1930, signed in bistre, numbered from the edition of 125, published by Albert Skira, Paris, on Arches paper, with full margins, sheet 577 x 465mm (22 3/4 x 17 7/8in)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.** This lot has been imported from outside the United Kingdom to be sold at auction under temporary importation, and therefore the buyer must pay the import VAT at a rate of 5%. On proof of export outside the United Kingdom, this duty can be refunded.
Rembrandt van Rijn (1606-1669)The Death of the VirginEtching with drypoint, 1639, a good but later impression of New Hollstein's fourth state (of five), on fine laid paper with watermark of grapes and text-based countermark with numbers '[??]16' [cf. Hinterding B.a, probably early to mid 18th century], sheet 392 x 311mm (15 1/2 x 11 1/4 in), some expertly repaired tears and conservation to surface abrasion and minor losses, mainly only visible under very close inspection (unframed)Literature:Bartsch 99; New Hollstein 173 iv/v
δ Pablo Picasso (1881-1973)Two Faces Viewing Corpulent Nude, 2ème état (Bloch 1859)Etching, 1970, with the stamped signature, numbered from the edition of 50, published by Galerie Louise Leiris, Paris, on BFK Rives paper, with full margins, sheet 635 x 760mm (25 x 30in)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
δ Pablo Picasso (1881-1973)Degas Imaginant: Scène de séduction entre deux filles, avec matrone hypocrite (Bloch 1962)Etching, 1971, with the stamped signature, numbered from the edition of 50 in pencil, on BFK Rives paper, with full margins, sheet 505x650mm (19 7/8 x 25 5/8in)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
δ Pablo Picasso (1881-1973)Scène de Théâtre: Amazone, Vénus de foire, homme au bouquet pl. II, from Le Cocu Magnifique (Bloch 1245; Cramer 140)Etching, 1966, signed in pencil, numbered from the edition of 30, printed and published by Atelier Crommelynck, Paris, on Richard de Bas paper, with wide margins, sheet 222 x 320mm (8 3/4 x 12 5/8in)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
** δ Pablo Picasso (1881-1973)Vénus et l'amour, dans le style ''Bon Sauvage'', from Series 347 (Bloch 1640)Etching printed with tone, 1968, signed in pencil, numbered from the edition of 50, published by Galerie Louise Leiris, Paris, on BFK Rives paper, with full margins, sheet 565 x 644mm (22 1/4 x 25 3/8in)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.** This lot has been imported from outside the United Kingdom to be sold at auction under temporary importation, and therefore the buyer must pay the import VAT at a rate of 5%. On proof of export outside the United Kingdom, this duty can be refunded.
Rembrandt van Rijn (1606-1669)Self-Portrait in a Cap and Scarf with the Face DarkEtching, 1633, a good but later impression of New Hollstein's fourth state (of five), on laid paper without watermark, platemark 132 x 102 mm (5 1/4 x 4 1/8 in), sheet 134 x 107 mm (5 1/4 x 4 1/4 in), minor surface dirt and toning (unframed)Literature:Bartsch 17; New Hollstein 120 iv/v
Pierre-Auguste Renoir (1841-1919)La Fleuve Scamandre (1ère planche) (Delteil 24)Etching, circa 1900, with the stamped signature, from the edition of 1000 for the unpublished edition of Ambrose Vollard's Tableaux, pastels et dessins de Pierre-Auguste Renoir, on Japan paper, with full margins, sheet 321 x 248mm (12 1/2 x 9 3/4in)
Rembrandt van Rijn (1606-1669)The Descent from the Cross: Second PlateEtching and engraving, 1633, a very good albeit later impression of New Hollstein's sixth state (of eight) on fine laid paper with partial watermark of letters 'A-D-', still showing remnants of the coarsely burnished address of Justus Danckerts, but before Lamoureux's address in the lower right corner, platemark 530 x 410 mm (20 3/4 x 16in), sheet 534 x 413 mm (21 x 16 1/4 in), small margins, on thin conservation tissue support, expert repairs to old perforations, visible verso (unframed)Literature:New Hollstein 119 vi/viii
** Rembrandt van Rijn (1606-1669) Portrait of Jan Uytenbogaert, preacher of the RemonstrantsEtching and burin, 1635, a good but later impression of New Hollstein's eighth state (of nine), printing with some wear in the densely cross-hatched areas, on laid paper without watermark, sheet 226 x 178 mm (8 7/8 x 7 in), thread margins to upper and lower edge, trimmed to or just within the platemark to the left and right sides, minor spotting to sheet (unframed)Literature:New Hollstein 129 viii/ix** This lot has been imported from outside the United Kingdom to be sold at auction under temporary importation, and therefore the buyer must pay the import VAT at a rate of 5%. On proof of export outside the United Kingdom, this duty can be refunded.
δ Frank Auerbach (b.1931)Joe Tilson (Hartley 9)Etching, 1980, signed and numbered from the edition of 50 in pencil, published by Marlborough Graphics, London, on wove paper, with full margins, sheet 153 x 144mm (6 x 5 3/4in)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
δ Frank Auerbach (b.1931)BillEtching printed with tone, 2009, signed, titled and numbered from the edition of 100 in pencil, printed by Marc Balakjian at Studio Prints, London, on Somerset Velvet, loose as issued, with full margins, 180 x 150mm (PL), together with a copy of the book, Frank Auerbach by William Feaver, published by Rizzolo, New York, within the black cloth covered portfolio case, the title printed in silver on the uppers, overall 325 x 270mm (12 3/4 x 10 5/8in)(folio)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
** Rembrandt van Rijn (1606-1669)Christ Driving the Money Changers from the TempleEtching with touches of drypoint, 1635, a good impression of New Hollstein's second state (of four), with remnants of drypoint burr visible in the rays just above Christ, and with only the areas of false biting reworked, on laid paper with text-based watermark 'P A SERV', platemark 136 x 169 mm (5 3/8 x 6 5/8 in), sheet 175 x 200 mm (6 7/8 x 7 7/8 in) (unframed)Literature:Bartsch 69; New Hollstein 139 ii/iv** This lot has been imported from outside the United Kingdom to be sold at auction under temporary importation, and therefore the buyer must pay the import VAT at a rate of 5%. On proof of export outside the United Kingdom, this duty can be refunded.
δ David Hockney (b.1937)Gregory (MCA Tokyo 157)Soft and hard-ground etching printed in colours, 1974, signed and dated in pencil, numbered from the edition of 75, printed by Maurice Payne, Kent Jones and Dany Levy, published by Petersburg Press, London, on Inveresk mould-made paper, with full margins, sheet 910 x 700mm (35 3/4 x 27 1/2in)The subject is Gregory Evans: a key figure in the British artist’s personal and artistic career, morphing from lover and studio assistant to curator and trusted adviser. Gregory Evans has remained the constant through Hockney’s ever-evolving practice and continual experimentation as a model he has returned to time and time again, appearing in over forty portraits. The etching here – executed in 1974, the year the pair began an intimate relationship – is imbued with a warmth and affinity for the sitter. Works from this period, from 1965 where line drawing consumed Hockney’s artistic output, are highly sought after owing to their technical difficulty and the power they conjure through their simplicity.δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
δ Leon Kossoff (1926-2019)RestingEtching, 1983, signed and dated in pencil, numbered from the edition of 60, printed by Studio Prints, London, published by Bernard Jacobson Gallery, London, on wove paper, with full margins, sheet 510 x 597mm (20 x 23 1/2in)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Jasper Johns (b. 1930)Small Flashlight, from 1st Etchings, 2nd State (ULAE 58)Etching with aquatint, 1967-1969, signed, dated and numbered from the edition of 40 in pencil, from 1st Etchings, 2nd State, printed and published by Universal Limited Art Editions, New York, with their blindstamp, on Auvergne paper, with full margins, sheet 656 x 500mm (25 7/8 x 19 3/4in)
Rembrandt van Rijn (1606-1669)The Pancake WomanEtching, 1635, but a later impression of New Hollstein's seventh state (of seven), slightly slipped impression printing with tone on laid paper without watermark, platemark 107 x 77 mm (4 1/4 x 3 in), sheet 109 x 80 mm (4 5/8 x 3 1/2 in), laid onto support, small nick to hat, (unframed)Literature:Hind 141; New Hollstein 144 vii/vii
Rembrandt van Rijn (1606-1669)Self-portrait in a Velvet Cap with PlumeEtching, 1638, but later impression of New Hollstein's final state (of four), printing with plate tone tone on thick laid paper without watermark, some wear in the plate visible, platemark 135 x 103 mm (5 1/4 x 4 1/8 in), sheet 144 x 114 mm (5 5/8 x 4 1/2 in), very faint stain in the upper right quadrant, mainly visible verso (unframed)Literature:Bartsch 20; New Hollstein 170 iv/iv
Roy Lichtenstein (1923-1997)Illustration for 'De Denver au Montana, Départ 27 Mai 1972' (I), from La Nouvelle Chute de l'Amérique (Corlett 275)Etching with aquatint printed in colours, 1992, initialled in pencil, numbered from the edition of 80, printed by Atelier Dupont-Visat, published by Les Editions du Solstice, Paris, on Arches paper, with full margins, sheet 351 x 485mm (13 7/8 x 19in)
Rembrandt van Rijn (1606-1669)A Peasant in a High Cap, Standing Leaning on a StickEtching, 1639, a good impression of New Hollstein's second state (of two), without any re-work but with the two dots in the upper right corner, on thin wove paper without watermark, sheet 84 x 45 mm (3 1/4 x 1 3/4 in), trimmed within the platemark (unframed)Literature:Bartsch 133; New Hollstein 178 ii/ii
Rembrandt van Rijn (1606-1669)The Angel Departing from the Family of TobiasEtching, 1641, but a later impression of New Hollstein's eighth state (of nine), on laid paper without watermark, platemark 105 x 154 mm (4 1/8 in x 6 in), sheet 115 x 165 mm (4 1/2 x 6 1/2 in), numbered '42' in brown ink to lower right margin, old handling creases, minor surface dirt (unframed)Literature:Bartsch 43; New Hollstein 189 ix/ix
Rembrandt van Rijn (1606-1669)The Card PlayerEtching, 1641, a good but later impression of New Hollstein's fifth state (of five), on thick laid paper without watermark, platemark 90 x 81 mm (3 5/8 x 3 1/4in), sheet 92 x 85 mm (3 7/8 x 3 1/2in), minor even toning (unframed)Literature:Bartsch 136; New Hollstein 193 v/v
Rembrandt van Rijn (1606-1669)Abraham and IsaacEtching and drypoint, 1645, a good but later impression of New Hollstein's second state (of two) with the added stroke to the right shoulder of Abraham, on laid paper without watermark, platemark 157 x 130 mm (6 1/4 x 5 1/8 in), sheet 162 x 132 mm (6 3/8 x 5 1/4 in) (unframed)Literature:Bartsch 34; New Hollstein 224 ii/ii
** Rembrandt van Rijn (1606-1669)A Beggar Woman Leaning on a StickEtching, 1646, a very good albeit 18th century impression of New Hollstein's third state (of five), with the cross and two dots but before later rework, on cream laid paper without watermark, platemark 82 x 64 mm (3 1/4 x 2 1/2 in), thread margins (unframed)Literature:Bartsch 170; New Hollstein 229 iii/v** This lot has been imported from outside the United Kingdom to be sold at auction under temporary importation, and therefore the buyer must pay the import VAT at a rate of 5%. On proof of export outside the United Kingdom, this duty can be refunded.
Rembrandt van Rijn (1606-1669)Jews in the synagogueEtching and drypoint, 1648, a good impression of New Hollstein's fourth state (of nine), with some very fine shading reworked with mezzotint rocker, but well before later more coarse rework, on fine laid paper without watermark, sheet 72 x 131 mm (2 7/8 x 5 1/4 in), trimmed to or just within the platemark (unframed)Literature:Bartsch 126; New Hollstein 242 iv/ix
** Rembrandt van Rijn (1606-1669)Clement de Jonghe, PrintsellerEtching and drypoint, 1651, a good impression of New Hollstein's seventh state (of ten), probably printed late 17th or 18th century on cream laid paper with partial watermark of Strasbourg Lily, platemark 207 x 160 mm (8 1/8 x 6 1/2 in), sheet 223 x 174 mm (8 3/4 x 6 7/8 in), minor spotting and surface dirt (unframed)Provenance:J.E. Wetterauer, Stuttgart [L. 3183]Literature:Bartsch 272; New Hollstein 264 vii/x** This lot has been imported from outside the United Kingdom to be sold at auction under temporary importation, and therefore the buyer must pay the import VAT at a rate of 5%. On proof of export outside the United Kingdom, this duty can be refunded.
Rembrandt van Rijn (1606-1669)Peasant Family on the TrampEtching, circa 1652, but a later impression of New Hollstein's final state (of three), showing the redrawn outline of the woman's hat, on cream laid paper without watermark, platemark 114 x 92 mm (4 1/2 x 3 5/8 in), sheet 117 x 94 mm (4 1/2 x 3 5/8 in) (unframed)Literature:New Hollstein 266 iii/iii
Rembrandt van Rijn (1606-1669)The Circumcision in the StableEtching with touches of drypoint, circa 1654, but a later impression of New Hollstein's final state (of five), on cream laid paper without watermark, sheet 94 x 144 mm (3 3/4 x 5 1/2 in), sheet 98 x 148 mm (3 7/8 x 5 3/4 in), small margins with some minor toning to sheet (unframed)Literature:Bartsch 47; New Hollstein 280 v/v
Rembrandt van Rijn (1606-1669)Christ and the Woman of Samaria: An arched PrintEtching, 1657, a good well inked albeit later impression of New Hollstein's fourth state (of five), before further rework, on laid paper without watermark, sheet 125 x 160 mm (4 7/8 x 6 1/4 in), trimmed to or just within the platemark, very small scuff to left of woman, minor surface dirt(unframed)Literature:Bartsch 70; New Hollstein 302 iv/v
Rembrandt van Rijn (1606-1669)The Adoration of the Shepherds: A Night PieceEtching, circa 1652, but a later impression of New Hollstein's ninth state (of eleven), on thick laid paper without watermark, platemark 147 x 197 mm (5 3/4 x 7 3/4 in), sheet 158 x 208 mm (6 1/4 x 8 1/4 in), faint numbering in pencil to lower right margin (unframed)Literature:Bartsch 46 vii/vii; New Hollstein 300 ix/xi
Giovanni Battista Piranesi (1720-1788)Altra Veduta del tempio della Sibilla in TivoliEtching and engraving, 1761, a very good well inked impression of Hind's second state (of four), on thick laid paper, platemark 615 x 430 mm (24 1/4 x 16 7/8 in), sheet 690 x 490 mm (27 1/4 x 19 1/4 in), minor cockling and drying creases (framed)Provenance:Michael Finney, 31 Museum Street, London (stamp to reverse of frame)Literature:Hind 63 ii/iv
Giovanni Battista Piranesi (1720-1788)Veduta della Piazza di Monte Cavallo; Veduta della Piazza della RotondaTwo works, etching and engraving, circa 1760-1778, the first mentioned Hind's fourth state (of six), the latter the fourth state (of seven), both excellent impressions on thick Italian laid paper with watermark of double-encircled fleur-de-lis [Hind's watermark no. 3], each platemark approx. 385 x 540 mm (15 1/4 x 21 1/4 in), sheets 515 x 750 mm (20 1/4 x 29 1/2 in), English translations of the numbered key in ink underneath, possibly contemporary, central drying creases strengthened verso, left margins with adhesive remains (unframed)Together with:Five other slightly compromised Piranesi engravings, which include the title page for Vedute di Roma [Hind 1 iii/v], Veduta del Porto di Ripetta [Hind 28 vii/viii], with the following three with margins trimmed and mounted on card, Veduta del Tempio di Giove Tonante [Hind 44 iii/vi], Veduta della vasta Fontana di Trevi anticamente detta l'Acqua Vergine [Hind 19 iv/vii], Veduta del piano superiore del Serraglio delle Fiere [Hind 43 iii/vi] (unframed) (7)
** Rembrandt van Rijn (1606-1669)A Scholar in his Study ('Faust')Etching and drypoint, circa 1652, but a later impression of New Hollstein's fifth or sixth state (of seven) on laid paper without watermark, sheet 214 x 160 mm (8 1/4 x 6 1/4 in), laid onto support, with careful repair to lower left corner, repaired tear to lower right edge, further signs of restoration within the image(unframed)Literature:Bartsch 270; New Hollstein 270 v-vi/vii** This lot has been imported from outside the United Kingdom to be sold at auction under temporary importation, and therefore the buyer must pay the import VAT at a rate of 5%. On proof of export outside the United Kingdom, this duty can be refunded.
δ Marc Chagall (1887-1985)Le Corbeau Voulant Imiter l'Aigle pl.23, from Fables de la Fontaine (Cramer 22)Etching, 1952, signed and inscribed with plate number in pencil, from the edition of 200, printed by Maurice Potin, Paris, on Montval laid paper, with full margins, sheet 420 x 335mm (16 1/2 x 13 1/8in)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
δ Marc Chagall (1887-1985)La Fenêtre de l'atelier à Saint-Paul (Cramer 25)Etching, 1968, signed in pencil, numbered from the edition of 50, on wove paper, with full margins, sheet 288 x 250mm (11 1/4 x 9 3/4in)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
δ Marc Chagall (1887-1985)Title-page for Les Sept Péchés Capitaux (Kornfeld 47, See Cramer 7)The original unique copper plate for the etching, 1925, printed by Louis Fort, Paris, 165 x 107mm (6 5/8 x 4 1/4in)This set of Chagall's copper plates were used by the artist to print his Les Sept Péchés Capitaux ('The Seven Deadly Sins') series, published in 1926. The set of 16 etchings were created to illustrate a book of the same title, which included texts by eminent writers of the day: Jean Giraudoux (Pride), Paul Morand (Avarice), Pierre Mac Orlan (Lust), André Salmon (Envy), Max Jacob (Gluttony), J. de Lacretelle (Anger) et Joseph Kessel (Laziness). The frontispiece typifies Chagall's wry sense of humour predicated on self-deprecation. The self-portrait of the artist at his easel embodies Envy, whilst comically balancing the heads of the six other deadly sins on his head. These unique pieces offer an unparalleled insight into the artistic process of a master printmaker and are one-of-a-kind collector's items.δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Rembrandt van Rijn (1606-1669)The Presentation in the Temple: Oblong PlateEtching, drypoint and engraving, circa 1639, a good but later impression of New Hollstein's fourth state (of five), printing with light plate tone on laid paper without watermark, platemark 213 x 290 mm (8 3/5 x 11 1/2 in), sheet 216 x 294 mm (8 1/2 x 11 5/8 in), small margins (unframed)Literature:Bartsch 49; New Hollstein 184 iv/v
δ Marc Chagall (1887-1985)Lust III (Supplemental Plate) for Les Sept Péchés Capitaux (Kornfeld 62, See Cramer 7)The original unique copper plate for the etching, 1925, printed by Louis Fort, Paris, 170 x 117mm (6 3/4 x 4 5/8in)This set of Chagall's copper plates were used by the artist to print his Les Sept Péchés Capitaux ('The Seven Deadly Sins') series, published in 1926. The set of 16 etchings were created to illustrate a book of the same title, which included texts by eminent writers of the day: Jean Giraudoux (Pride), Paul Morand (Avarice), Pierre Mac Orlan (Lust), André Salmon (Envy), Max Jacob (Gluttony), J. de Lacretelle (Anger) et Joseph Kessel (Laziness). These unique pieces offer an unparalleled insight into the artistic process of a master printmaker and are one-of-a-kind collector's items.δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
δ Marc Chagall (1887-1985)Avarice III (Unpublished Plate), for Les Sept Péchés Capitaux (Kornfeld 63, See Cramer 7)The original unique copper plate for the etching, 1925, printed by Louis Fort, Paris, 110 x 171mm (4 3/8 x 6 3/4in)This set of Chagall's copper plates were used by the artist to print his Les Sept Péchés Capitaux ('The Seven Deadly Sins') series, published in 1926. The set of 16 etchings were created to illustrate a book of the same title, which included texts by eminent writers of the day: Jean Giraudoux (Pride), Paul Morand (Avarice), Pierre Mac Orlan (Lust), André Salmon (Envy), Max Jacob (Gluttony), J. de Lacretelle (Anger) et Joseph Kessel (Laziness). These unique pieces offer an unparalleled insight into the artistic process of a master printmaker and are one-of-a-kind collector's items.δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
δ Marc Chagall (1887-1985)Avarice IV (Supplemental Plate) for Les Sept Péchés Capitaux (Kornfeld 64, See Cramer 7)The original unique copper plate for the etching, 1925, printed by Louis Fort, Paris, 110 x 170mm (4 1/4 x 6 5/8in)This set of Chagall's copper plates were used by the artist to print his Les Sept Péchés Capitaux ('The Seven Deadly Sins') series, published in 1926. The set of 16 etchings were created to illustrate a book of the same title, which included texts by eminent writers of the day: Jean Giraudoux (Pride), Paul Morand (Avarice), Pierre Mac Orlan (Lust), André Salmon (Envy), Max Jacob (Gluttony), J. de Lacretelle (Anger) et Joseph Kessel (Laziness). These unique pieces offer an unparalleled insight into the artistic process of a master printmaker and are one-of-a-kind collector's items.δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
** δ Marc Chagall (1887-1985) after.L'Horloge (Maeght 1202)Etching with aquatint printed in colours, circa 1950, signed in pencil, numbered from the edition of 300, printed by G. Visat, published by Maeght, Paris, with margins, sheet 397 x 310mm (15 5/8 x 12 1/4in)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.** This lot has been imported from outside the United Kingdom to be sold at auction under temporary importation, and therefore the buyer must pay the import VAT at a rate of 5%. On proof of export outside the United Kingdom, this duty can be refunded.
** Rembrandt van Rijn (1606-1669)The Raising of Lazarus: The Small PlateEtching with touches of drypoint, 1642, a very good impression of New Hollstein's first state (of two) printing with clarity and before any rework, the fine drypoint strokes to Lazarus's forehead present, platemark 150 x 114 mm (5 7/8 x 4 1/2 in), thread margins, small repair to hole in upper left quadrant, minor spotting (unframed)Provenance:Possibly with Colnaghi & Co., London [bears pencil stock number verso 'C. 2033'] Literature:Bartsch 72; Hind New Hollstein 206 i/ii** This lot has been imported from outside the United Kingdom to be sold at auction under temporary importation, and therefore the buyer must pay the import VAT at a rate of 5%. On proof of export outside the United Kingdom, this duty can be refunded.
δ Marc Chagall (1887-1985)The Child and the Schoolmaster pl. 10, from La Fontaine Fables (Cramer 22)Etching, 1952, signed and inscribed with the plate number in pencil, from the edition of 100, printed by Maurice Potin, published by Tériade Éditeur, Paris, on Montval laid paper, with full margins, sheet 419 x 330mm (16 3/8 x 13in)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
δ Salvador Dalí (1904-1989)Pomme Dragon, from Flordali (M&L 344a)Etching and lithograph printed in colours, 1969/1970, signed in pencil, numbered in Roman numerals from the edition of XXXV, printed by Ateliers Rigal, Paris, published by Werbungs- und Commerz Union Anstalt, on Japon nacré paper, with margins, sheet 755 x 565mm (29 3/4 x 22 1/4in)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Rembrandt van Rijn (1606-1669)The Raising of Lazarus: The Larger PlateEtching and engraving, circa 1632, a good but later impression of New Hollstein's final state (of nine), heavily inked and printing with strong contrasts on thick wove paper, platemark 368 x 258 mm (14 1/2 x 10 1/4 in), sheet 475 x 342 mm (18 3/4 x 13 1/2 in), faint exposure lines, scattered spotting (unframed)Literature:New Hollstein 113 ix/ix
δ Salvador Dalí (1904-1989)St George & the Dragon (Field 78-1)Soft-ground etching with hand-colouring in gold glitter, 1978, signed in pencil, numbered from the edition of 150, on Japan paper, with full margins, sheet 765 x 567mm (30 1/8 x 22 1/3in)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Rembrandt van Rijn (1606-1669)The PersianEtching, 1632, but a later impression of New Hollstein's final state (of three), printing with plate tone on thick laid paper without watermark, sheet 109 x 79 mm (4 1/4 x 3 1/8 in), thread margins (unframed)Literature:Bartsch 152; New Hollstein 110 iii/iii
Rembrandt van Rijn (1606-1669)Self Portrait with SaskiaEtching, 1636, New Hollstein's third state (of four) before further reworking, some minor wear in the densely cross-hatched areas with touches of grey wash present, on sturdy laid paper without watermark, platemark 105 x 93 mm (4 1/8 x 3 5/8 in), sheet 107 x 95 mm (4 1/4 x 3 1/4 in), thread margins, minor toning (unframed)Literature:New Hollstein 158 iii/iv
δ Henri Matisse (1869-1954)Nu au fauteuil pl. 210 (Duthuit 245)Etching, 1935, signed in pencil, numbered from the edition of 25, chine collé supported on Arches paper, with full margins, sheet 380 x 277mm (14 7/8 x 10 7/8in)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
δ Joan Miro (1893-1983)Chanteur des Rues (Dupin 1137)Etching with aquatint printed in colours, 1981, signed in pencil, numbered from the edition of 80, printed by Maeght, published by Daniel Lelong, Paris, on Arches paper, with full margins, sheet 565 x 420mm (22 1/4 x 16 1/2in)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
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