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Click here to subscribeδ Bill Jacklin (b. 1953)BathersEtching with aquatint in colours, 1992, signed and dated in pencil, numbered from the edition of 30, with Branstead Studio blindstamp, on wove paper, with full margins, sheet 570 x 660mm (22 1/2 x 26in)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
δ Alison Watt (b.1965)MedlarEtching and aquatint, 1995, signed, titled and dated in pencil, numbered from the edition of 35, on wove paper, with full margins, sheet 305 x 305mm (12 x 12in)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
δ Patrick Procktor (1936-2003)Departure from Invitation to a VoyageEtching with aquatint in colours, 1969, signed in pencil, numbered from the edition of 75, printed and published by Editions Alecto, London, on wove paper, with full margins, sheet 680 x 982mm (26 5/8 x 38 5/8in)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
δ David Hockney (b.1937)Fires of Furious Desire (Scottish Arts Council 5; MCA Tokyo 5)Etching with aquatint, 1961, signed and dated in pencil, numbered from the edition of 75 in pencil, printed by Maurice Payne, London, published by Petersburg Press, on Crisbrook handmade paper, with full margins, sheet 288 x 400mm (11 1/4 x 15 3/4in)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)Christ Church, SpringEtching with aquatint, 1992, signed, dated and inscribed 'A/P' in pencil, artist's proof aside from the edition of 25, published by the artist and distributed by Anthony d'Offay Gallery, London, on TH Saunders wove paper, with full margins, sheet 780 x 590mm (30 3/4 x 23 1/4in)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Rembrandt Harmensz van Rijn (1606-1669)Self-Portrait in a flat Cap and embroidered Dress (Bartsch 26; New Hollstein 210) Etching, circa 1642, on laid paper, a later impression of New Hollstein's third, final state, with narrow marginsPlate 93 x 62mm. (3 5/8 x 2 3/8in.); Sheet 94 x 65mm. (3 3/4 x 2 5/8in.)For further information on this lot please visit Bonhams.com
Rembrandt Harmensz van Rijn (1606-1669)Self-Portrait etching at a Window (Bartsch 22; New Hollstein 240) Etching and drypoint, 1648, on laid paper, a good later impression of New Hollstein's fifth state (of nine), the upper left edge made-up with pen & ink additions, with narrow marginsPlate 160 x 130mm. (6 1/4 x 5 1/8in.); Sheet 164 x 133mm. (6 1/2 x 5 1/4in.)For further information on this lot please visit Bonhams.com
David Hockney (born 1937)Quartet, from Projects for the Cavafy Suite Etching and aquatint, 1966-67, on handmade wove paper, signed in pencil, one of approximately 5-10 unpublished trial proofs relating to, but not included in the Cavafy Suite, printed by Maurice Payne, London, the full sheet, framedPlate 350 x 230mm. (13 3/4 x 9in.); Sheet 564 x 394mm. (22 1/8 x 15 1/2in.)This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Giovanni Battista Piranesi (1720-1778)Veduta del prospetto principale della Colonna Trajana; Veduta del prospetto principale della Colonna Antonina (Wilton-Ely 687,708; Ficacci 703,724) Two large engravings, 1774-79, each on six joined sheets of laid paper, framedTrajana sheet 2878 x 475mm. (113 3/8 x 18 3/4in.);Antonina sheet 2607 x 470mm. 102 5/8 x 18 1/2in.) (2)Footnotes:Piranesi arrived in Rome in 1740 and after studying etching and engraving with Giuseppe Vasi and Carlo Zucchi, he became one of the most sought-after artists to commission for views of the city. As the son of a stone mason and as a trained architect himself, Piranesi was in an excellent position to appreciate and convey the majesty of these columns.These two imposing plates were produced for the series Trofeo o sia Magnifica Colonna Coclide, depicting the colossal relief columns of Rome: the columns of Trajan, Antonine (of Marcus Aurelius) and Antoninus and Faustina.Trajan's Column is the last remaining intact monument in the Trajan Forum in Rome, completed in 113 AD. It is celebrated for its spiral bas-relief sculptures which commemorate the emperor's victory in the Dacian Wars (Romania). After his death, Trajan's ashes were interred in the pedestal. There was originally a statue of Trajan on top but this was replaced by a statue of St Peter.The Antonine Column was commissioned by Marcus Aurelius's son Commodus to commemorate his father's triumph over the Germanic Marcomanni tribe in 176 AD and has a similar bas-relief decoration. It was erected in the Piazza Colonna in 193 AD and was originally topped with a statue of Marcus Aurelius, which was replaced with a statue of St Paul.This lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Lucian Freud (1922-2011)Four Figures (Hartley 42) Etching, 1991, on wove paper, signed with initials and numbered 1/30 in pencil (there were also ten artist's proofs), printed by Marc Balakjian at Studio Prints, published by James Kirkman, London and Brooke Alexander, New York, the full sheet, framedPlate 590 x 855mm. (23 1/4 x 33 3/8in.); Sheet 676 x 935mm. (26 3/8 x 36 3/4in.)Footnotes:ProvenanceJames Kirkman Ltd, London.Karsten Schubert Private Collection, London.Marlborough Fine Art, London.Acquired from the above by the current owner.ExhibitedRubenspreis der Stadt Siegen 1997: Lucian Freud, Siegerlandmuseum, Siegen, June 28 to August 31, 1997, no 14 (with their label).Lucian Freud: Etchings, Marlborough Gallery, London, May 25 to June 23, 2005.Lucian Freud: Etchings, Northcote House Gallery, University of Exeter, Exeter, April 26 to July 16, 2007 (illustrated in catalogue).This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Howard Hodgkin (1932-2017)Flowering Palm Etching with carborundum in colours, 1990-1991, on wove paper, signed with initials, dated and inscribed 'PP 4/4' in pencil, one of four printer's proofs aside from the edition of 50, printed and hand-coloured by Jack Shirreff at the 107 Workshop, published by Waddington Graphics, London, the full sheet, within the frame from 107 WorkshopSheet 1491 x 1210mm. (58 3/4 x 47 1/2in.)This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Grayson Perry (born 1960)The Island of Bad Art Etching, 2013, on wove paper, signed and numbered 68/80 in pencil, printed by the Royal Academy Schools, London, the full sheet, framedPlate 422 x 592mm. (16 3/8 x 23 3/8in.); Sheet 467 x 630mm. (18 3/8 x 24 3/4in.)Footnotes:ProvenanceRoyal Academy of Arts, London (with their labels).Acquired directly from the above by the current owner.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Damien Hirst (born 1965)Tetrahydrocannabinol Etching and aquatint in colours, 2004, on wove paper, signed in pencil and unnumbered, possibly a proof aside from the numbered edition of 115, published by The Paragon Press, London, the full sheet, framedPlate 860 x 1773mm. (33 7/8 x 69 3/4in.); Sheet 1117 x 1999mm. (43 1/4 x 78 3/4in.)This lot is subject to the following lot symbols: AR TPAR Goods subject to Artists Resale Right Additional Premium.TP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Damien Hirst (born 1965)Xylene Cyanol Dye Solution Etching and aquatint in colours, 2005, on wove paper, signed in pencil, numbered 62/65 on the reverse (there were also 20 artist's proofs), published by The Paragon Press, London, the full sheet, framedPlate 584 x 381 mm. (23 x 15in.); Sheet 970 x 730mm. (38 1/4 x 28 3/4in.)This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Rembrandt Harmensz van Rijn (1606-1669)Self-Portrait in a Cap and Scarf with the Face dark: Bust (Bartsch 17; New Hollstein 120) Etching, 1633, on heavy laid paper, with partial unidentified watermark, a good impression of New Hollstein's third state (of five), with thread marginsPlate 132 x 103mm. (5 1/8 x 4 1/8in.); Sheet 134 x 106mm. (5 1/4 x 4 1/4in.)For further information on this lot please visit Bonhams.com
Léonard Tsuguharu Foujita (1886-1968)Chat Allongé, from Les Chats (Buisson 29.200) Etching with aquatint, 1929, chine collé on imperial Japan paper, signed 'Foujita' and signed again in Japanese 'Tsuguharu', inscribed 'E.A.' in pencil, an artist's proof aside from the edition of 100 (there were also ten impressions numbered in Roman numerals), published by Éditions Artistiques Apollo, Paris, with margins, irregularly trimmed at all four sides, framedPlate 315 x 385mm. (12 3/8 x 15 1/8in.); Sheet 382 x 470mm. (15 x 18 1/2in.)This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Pablo Picasso (1881-1973)La femme au balai, from La Maigre (Bloch 704; Baer 881; Cramer Books 63) Etching with drypoint, 1951, on China laid paper, a proof before text, with the central vertical fold (as issued), before the book edition of 52, signed in pencil (Baer records one signed proof on China paper), printed at Lacourière, Paris, with wide margins, framed Plate 257 x 386mm. (10 1/8 x 15 1/8in.); Sheet 340 x 487mm. (13 3/8 x 19 1/8in.)This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Rembrandt Harmensz van Rijn (1606-1669)Self-Portrait in a velvet Cap with Plume (Bartsch 20; New Hollstein 170) Etching, 1638, on heavy laid paper, New Hollstein's second state (of four), with partial watermark Strasbourg Lily, trimmed by 9mm. at the top and along the lower platemarkSheet 125 x 103mm. (4 7/8 x 4 1/8in.)For further information on this lot please visit Bonhams.com
Pablo Picasso (1881-1973)Deux modèles se regardant, from La Suite Vollard (Bloch 209; Baer 407B.d) Etching, 1933, on Montval laid paper with Picasso watermark, signed in pencil, from the edition of 260 (there was also an edition of 50 with wide margins), printed by Lacourière, published by Ambroise Vollard, Paris, 1939, the full sheet with deckle edges above and below, framedPlate 276 x 199mm. (10 7/8 x 7 7/8in.); Sheet 445 x 340mm. (17 1/2 x 13 3/8in.)Footnotes:ProvenanceAdam Gallery, London (with their label).Private Collection, United Kingdom.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Pablo Picasso (1881-1973)Sculpteur et trois danseuses sculptées from La Suite Vollard (Bloch 217; Baer 421) Etching, 1933, on Montval laid paper with Vollard watermark, signed in pencil, from the edition of 260 (there was also an edition of 50 with wide margins), printed by Lacourière, published by Ambroise Vollard, Paris, 1939, the full sheet with deckle edges at left and right, framedPlate 222 x 313mm. (8 3/4 x 12 3/8in.); Sheet 340 x 445mm. (13 3/8 x 17 1/2in.)Footnotes:ProvenanceAdam Gallery, London (with their label).Private Collection, United Kingdom.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Joan Miró (1893-1983)Le Grand Ordinateur (Dupin 503) Etching and aquatint in colours, 1969, on Arches wove paper, signed and numbered 48/75 in pencil (there were also a few artist's proofs), published by Maeght Editeur, Paris, the full sheet with deckle edges above and below, framedPlate 990 x 595mm. (39 x 23 3/8in.); Sheet 1050 × 680mm. (41 3/8 x 26 3/4in.)This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Rembrandt Harmensz van Rijn (1606-1669)Old Man with a divided Fur Cap (Bartsch 264; New Hollstein 182) Etching and drypoint, 1640, on heavy laid paper, a later impression of the first state (of two), watermark AV, trimmed to the platemarkPlate 150 x 136mm. (5 7/8 x 5 3/8in.)Footnotes:ProvenanceAndre Mauban, Paris, b.1870 (Lugt 100).For further information on this lot please visit Bonhams.com
A Chinese Longquan celadon barbed rim dish, Yuan-early Ming dynasty, 14th/15th century, the centre moulded with a lotus flower, within a foliate carved cavetto and barbed rim, fluting to the underside and burnt orange ring to base, some etching to the glaze possibly from a shipwreck,Provenance- collected by the vendor’s grandfather while working and travelling in South East Asia in the 1930s - 1960s. 22.5cm diameter***CONDITION REPORT***Typical glaze imperfections including some on glazed spurs to the interior of the dish, some crazing to the glaze on the underside of the barbed rim, some light scratching to the interior. Evidence of some etching to the glaze indicating the piece probably come from a shipwreck. Otherwise in good condition with no restoration, chips or cracks detected..PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail.
A small Chinese Ming Longquan celadon dish, 15th/16th century, the interior with a fluted cavetto, the sea-green glaze with some etching probably from a shipwreck,Provenance- collected by the vendor’s grandfather while working and travelling in South East Asia in the 1930s - 1960s. 16.2cm diameter, some faults***CONDITION REPORT***Two worn shallow chips to the rim, a star crack to one side of the cavetto, some etching to the glazing places which may mean the dish came from a shipwreck.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail.
Louis Icart (1888-1950) 'Leda and the swan'drypoint etching with hand colouring,1934signed in pencil55 x 81cm***CONDITION REPORT***Good condition, colours remain strong, possibly slight but even discolouration to the unprinted outer margin, signed in pencil and numbered 56 in the lower left corner, under glass in a later mount and reeded gold frame, label verso for the Great Dane Collection stating from the limited edition of 250.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail.
John Hoyland RA (British, 1934-2011) 'Fly Away' 1981etching with aquatint and carborundumsigned in pencil and dated '81, numbered 32/60visible sheet 63 x 73cm***CONDITION REPORT***Looks to be in good condition, colours remain strong, no sign of any dirt or damage, plain white mount and ebonised frame.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail.
§ § Sir Terry Frost, R.A. (1915-2003) Lemon, Green and Black, 2002etching and aquatint on heavy wove papersigned in pencil, 33/75, (Kemp 230)38 x 39.5cm***CONDITION REPORT***Very good clean condition with no faults noted, sheet over all 56 x 56cm. Floating mount and plain glazed white framePLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail.
§ § Victor Pasmore (British, 1908-1998) 'Senza Titulo III, 1989'etching and aquatint on copper plate printed in five colours on Fabriano papersigned in pencil and dated '89, numbered 5/90, comes with a copy of the James Kinmont Fine Art catalogue by Pasmore Prints56 x 95cm***CONDITION REPORT***This print has slipped in its mount so will need re-attaching, but otherwise looks to be in fair to good condition, possibly one or two dirt specks running across the centre, plain white card mount and glazed white painted frame.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail.
ENGRAVING. GOA.- A Ilha e Cidade de Goa Metropolitana da India e Partes Orientais qve esta en 15 graos da Banda do Norte.- [Amsterdam: Cornelis Claez, 1595-1596]. - 1 intaglio engraving;, Hand-coloured copperplate engraving and etching of the work “Itinerario”, by Jan Huygen van Linschoten (1563-1611), published in Amsterdam, 1595-96, by the Dutch engraver Johannes von Doetecum ( 1530-1605). It includes three coats of arms (of Portugal, Goa and the Archbishop of Goa) and four cartouches, one with the title, another with a dedication to Prince Albert of Austria, another with a descriptive caption and the last one with the edition information.slight creases when folding,Framed. Dim. - (gravura) 59,5 x 81,5 cm; (moldura) 71,5 x 92,8 cm
PRINT.- LISBOA.- Lisabona magnificentissima Regia sedes Portugalliæ et florentißimum Emporium ad ostia Tagi situm... = Lisabon die prächtigste Königl. Residenz Statt in Portugall u. florisanteste Handels Plaz am Austfluß des Tagi situm...- Aug[usta]. Vindel[icorum]. (Ausgsburgo): Georg Matthäus Seutter, [ca. 1735].- 1 gravura a talhe-doce color.; 505x595 mm (matriz); 522x622 mm (folha)., Engraving and etching, watercoloured by hand, by the German cartographer from Augsburg Georg Matthäus Seutter (1678-1757), with representation of Lisbon in “aerial view” (above) and riverside area (below), previous to the Philippine turret of Commerce Square. In the centre a large cartouche containing an extensive interpretive caption of the image (in German). Very fresh proof, with central crease and short margins, but retaining all the plate mark crease., Dim. - 51 x 60 cm
PRINT.- SEQUEIRA, Domingos António de.- [Sopa de Arroios (Lisboa)].- Lisboa: s.n., 1813.- 1 copperplate;, One of the most famous engravings of Lisbon, open engraving and etching by Gregório Francisco Queirós (1768-1845) after an original by Domingos António de Sequeira (1768-1837), published in Lisbon, on December 17, 1813. Presents the following subscription: Dom. Ant. de Sequeira Ac. Rom. inv. del. et abrio os cont. das fig. — Greg. Franco. de Queiroz esculpio as figuras a Agoa forte e a buril em 1813. Clean, framed proof., Dim. - (gravura) 55 X 83 cm; (moldura) 68,5 x 96,4 cm
ENGRAVINGS.- SANTA ISABEL, Milagre de.- Fatto milagrozo de Santa Izabel Rainha de Portugal.- Roma: s.n., 1798. - 1 copperplate engraving; 440x550 mm (matrix), 530x656 mm (sheet)., Rare etching, with the following subscription: M. D. inv. e F. — Manoel Dias de Oliveira, Brasilience inventou ea briu[sic] en Roma no Anno de 1798. Manuel Dias de Oliveira (1764-1837), painter and teacher, was born in Cachoeiras de Macacu (Rio de Janeiro); very young he travelled to Lisbon, having studied at the newly founded Casa Pia; at an uncertain date he was sent to Rome in order to improve his training at the Accademia di San Luca, having been a fellow disciple of Domingos Sequeira; in 1800 he returned to Portugal and Brazil where he founded the "Aula Régia de Desenho e Figura". Manuel Dias was also a decorator, having been responsible for the decoration of the city at the reception of the Portuguese Court on arrival in Rio de Janeiro, in 1808. From 1816 onwards, his prestige declined and he took up residence in Campos dos Goitacazes, where he opened an elementary school and died in 1837. Engraving dedicated to Diogo Inácio de Pina Manique, protector of the artist. Handled and dusty proof, with some imperfections, acidity stains and restoration in the lower left corner. It is, however, complete, with good margins and is susceptible to recovery. We are not aware of any existing proof in Portugal. Dim. - (gravura) 52,5 x 565 cm
PRINT.- JAPÃO.- Iapponiae Noua & accurata descriptio Per R.P. Antonium Francisco Cardim Societatis IESV et Elogia Iapponica.- [Romae: Typis Heredum Corbelleti, 1646].- 1 gravura a talhe-doce; 278x408 mm (matriz), 320x435 mm (folha)., Engraving and etching map, not coloured, published in the work of Fr. cardim, “Fasciculus e Iapponicis floribus” (Rome, 1646). Father Cardim SJ (1596-1659), a Jesuit missionary, born in Viana do Alentejo, joined the Society of Jesus in 1611, having completed his studies in Goa. Cardim, was one of the great travelers in the East, chronicler of the Society of Jesus in China and Japan and attorney general of the province of Japan, ended his days in Macau, at the age of 63 after having lived 15 years between the two empires of the East. The print represents the diocese of Japan, with the implementation of schools, seminaries, hospitals, etc., making up the 36 points identified in the extensive caption; bottom left, a ship on the high seas, representing the arrival of St. Francis Xavier to Japan, on August 15, 1549. Slightly worn copy with some stains, left margin trimmed by the platemark; occasional minor restorations and weakened central fold. It is, however, complete and recoverable. Sommervogel, II, p. 740., Dim. - 31,5 x 43 cm
GRAVURA.- GUINÉ, MANICONGO & ANGOLA.- Typus orarum maritimarum Guineae, Manicongo, & Angolae ultra promontorium Bonae Spei.- [London: John Wolfe, 1598].- 1 gravura a talhe-doce; 380x520 mm (folha aparente)., copperplate (engraving and etching) navigation chart, hand-coloured, probably from the London edition of the “Itinerario”, by Jan Huygen van Linschoten (1563-1611), published in 1598, by the Flemish engraver Arnold Florent van Langren (1580-1644). Large descriptive cartouche, surmounted by the coat of arms of the Kingdom of Portugal. Below, another panoramic cartouche, representing the islands of Ascenção and Santa Helena, both discovered by the Galician navigator João da Nova, in 1501, at the time in the service of Portugal. Very fresh, central crease, framed proof. Dim. - gravura) 42 x 54,5 cm; (moldura) 53 x 65 cm
GRAVURA. ILHA TERCEIRA (Açores).- A Cidade de Angra na ilha de Iesv Xpo da Terceira qve esta em 39 graos.- [Amsterdam: Cornelis Claez, 1595-1596].-- 1 copperplate engraving; 570x800 mm (image); 600x 815 mm. (apparent leaf)., Copperplate print engraving (engraving and etching), from the work “Itinerario”, by Jan Huygen van Linschoten (1563-1611), published in Amsterdam, 1595-96, by the Dutch engraver Johannes von Doetecum (1530-1605) . It includes five cartouches, a compass rose and the coats of arms of Portugal and the Azores, highlighting, in the upper right corner, the dedication to D. Cristóvão de Moura (1538-1613), 1st Count of Castelo Rodrigo and capitão-donatário of the city of Angra. Hand coloured, central crease, slightly trimmed but preserving the matrix crease, fradem proof. Dim. - (gravura) 50 x 85 cm; (moldura) 61 x 96 cm
ENGRAVINGS.- DONA CATARINA DE BRAGANÇA, (Departure & Arrival of).- Three copperplate engravings and etching.- Frankfurt: Matthäus Merian, (ca. 1700)., Engravings probably from volume IX (1661-1665) of the work “Theatrum Europaeum” initially published by the German bookseller and engraver Matthäus Merian (1593-1650) in Frankfurt, between 1633 and 1738 (in 21 volumes). Set consisting of the following engravings: 1 - Departure of Queen Catherine from Terreiro do Paço in 1662, 2 - Arrival in Portsmouth; 3 - Arrival in London. Framed., Dim. - (gravura - a maior) 34,5 x 41 cm; (moldura - a maior) 46,5 x 54 cm
MURPHY, James.- Plans, elevations, sections and views of the church of Batalha, in the province of Estremadura in Portugal, with the history and description by Fr. Luis de Sousa; with remarks. To which is prefixed an introductory discourse on the principles of Gothic Architecture.- London: I. & J. Taylor, 1795.- [2], II, [2], 61, [1] p.: [27] gravuras; 53 cm.- E., A monumental work, especially appreciated for its magnificent copperplate engravings (burin and etching), of large dimensions, containing the architectural survey of the Monastery of Batalha and some reconstructions. James Murphy (1760-1814), Irish architect and traveller, born in Blackrock (Cork), was in Portugal during the years 1789 and 1790, in the service of William Burton Conyngham, with the mission of studying and drawing the architecture of the Monastery of Batalha. The work includes the following typographic texts: List of subscribers [2 p.]; Preface (II p.); Introduction (p. 1 a 26); A history and description of the Royal Monastery of Batallha... / by Father Luis de Sousa ([2], p. 27 a 61, [1] p.). The engraved sheets are as follows: title; dedication to William Conyngham; five engravings at the end of the introduction; and 20 engravings at the end of the volume, two of which are double-leaf, with the architectural survey. The copy also includes, bound at the end, a small leaflet (4 p.) with a catalogue of architecture books, by the same publisher. The copy, complete (according to the bibliography and the engraving index) and uncropped, is very clean up to the engraving [12] (The effigies...) which has a slight semi-circular water stain (of tide), in the upper third, which is accentuated until the last engraving. Half leather binding (single), from the 19th century, with the original Whatman paper endpapers. Duarte de Sousa, 510.
ENGRAVINGS.- LISBOA.- Lisabona.- [Augsburg (Augusta Vindelicorum)]: s.n., [ca. 1756].- 1 copperplate engraving; 410x1100 mm (apparent sheet), Copperplate and etching engraving by the German Georg Balthasar Probst (1732-1801), published in Ausburg, engraved from a pre-earthquake drawing of 1755, composed of two sheets glued together.Slightly dusty proof, with small imperfections and central crease, framed. Dim. - (gravura) 41 x 110 cm; (moldura) 53,5 x 122,5 cm
ENGRAVINGS.- LISBOA.- Vue du Port de Lisbonne.- A Paris: Chez Noel, s.d. [circa 1780].- 1 copperplate engraving; 540x745 mm (apparent)., Copperplate engraving and etching, hand-coloured, with the following caption: Vue du Port de Lisbonne. Prise du milieu du Port entre la Montagne Ste. Catherine et le Village d'Almada, à bord du Vaisseau de Guerre le St. Sebastien. Dédiée à son Altesse Monseigneur Dom Jean-Charles de Bragance ... Proof with soft colouring,two creases, minor restoration in the lower left corner, trimmed by the matrix crease. Dim. - (gravura) 54 x 74,5 cm; (moldura) 80,5 x 100,5 cm
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