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Click here to subscribeFour depictions of Beverley Minster: Beverley Minster from Burton Woods, original drypoint etching by Ed. Holdsworth 23.4.27, 23 x 30cm, Beverley Minster by A Hatfield 1930 9 x 14cm, Beverley Minster by John Nisbet 1868-1951 drypoint etching 40 x 27cm, and Beverley Cathedral by Oswald Fletcher 24 x 17cm.
Various watercolours and pictures to include four watercolours - D. Müller 19thC mountain scene with bridge and cattle, image 26 x 32 , and three other mountains scenes together with a Rosedale Priory, fine lithograph plate from Richardson's Monastic Ruins of Yorkshire 1843 with original colouring inscribed in pencil 'Rosedale Priory' 31 x 47cm and a small coloured etching? by E.M.W 1921.
Mina Bolingbroke (British, 18th / 19th century), 2 etchings: woman washing laundry within a courtyard setting, plus ducks bathing in a pond, each monogrammed, dated 1911 and 1918 respectively, signed in pencil to plate margins, mounted, framed and glazed.Plus, Charles John Watson (British, late 19th /early 20th century) street scene, etching, signed and dated 1906, mounted, framed and glazed.
Herbert Dicksee etching Clouds have a Silver Lining: Measuring 45cm x 58cm excluding mount and frame. Published by the Fine Arts society, vendor states this item is rare, circa 1902/04, Please note - we are unable to ship this due to it's size and the fragility of the glass - collect or courier only.
Herbert Dicksee etching RAIDERS signed proof on vellum: Lioness in coiled spring position with lion behind. Measuring 39cm x 65cm excluding mount and frame. Published by Frost & Reed 1899 and exhibited at the RA in the same year. we are unable to ship this due to it's size and the fragility of the glass - collect or courier only.
A COLLECTION OF EUROPEAN FANS including a mother of pearl example with a double painted leaf of court scenes, the openwork sticks with pique work, another mother of pearl example, with double leaf hand coloured etchings of a pastoral scene and a religious scene, another bone example, the hand coloured double leaf etching depicting court scenes, another bone example, one gilt etching leaf depicting a courting scene, a horn fan, the double with hand coloured and gilt decorated etchings of courting scenes, and a smaller mother of pearl example, 18th/19th century (6) Condition Report:all have breakages to sticks and/or tears, repairs to the leaf, wear to the paint etc
Joseph Mallord William Turner (1775-1851) The Castle above the Meadows. Etching by JMW Turner with mezzotint by Charles Turner for the Liber Studiorum. On laid paper, published Feb 1806 by Charles Turner. Label beneath from Christopher Mendez stating provenance to the sale of Turners personal collection, (Lugt 48) faint impressed stamp lower right margin confirms this. Plate size 20.5 x 29cm.
Joseph Mallord William Turner (1775-1851). Norham Castle on the Tweed. Etching by Turner with mezzotint by Charles Turner for the Liber Studiorum. On laid paper, published Jan. 1816 by Charles Turner. Label beneath from Christopher Mendez stating provenance to the sale of Turners personal collection, (Lugt 48) faint impressed stamp lower right margin confirms this. Plate size 20.5 x 29cm.
BRUCE ONOBRAKPEYA1932 Agbara-Otor, Nigeria'ELEMU II' (1984) Farbplastografie (Deep Etching). DM 28 x 22,5 cm (R. 51 x 39,5 cm). Unten rechts mit Bleistift handsigniert, datiert und bez. 'Bruce Onobrakpeya Ibadam March 1984' sowie unten links nummeriert '20/75'. Im Passepartout und hinter Glas gerahmt (ungeöffnet).
BRUCE ONOBRAKPEYA1932 Agbara-Otor, Nigeria'KURUMA' (1984) Farbplastografie (Deep Etching). DM 27,7 x 22,7 cm (R. 51 x 39,5 cm). Unten rechts mit Bleistift handsigniert, datiert und bez. 'Bruce Onobrakpeya Ibadam March 1984' sowie unten links nummeriert '18/75'. Im Passepartout und hinter Glas gerahmt (ungeöffnet).
BRUCE ONOBRAKPEYA1932 Agbara-Otor, Nigeria'OHWORIGILA' (1984) Farbplastografie (Deep Etching). 22,5 x 27,5 cm (R. 39,5 x 51 cm). Unten rechts mit Bleistift handsigniert, datiert und bez. 'Bruce Onobrakpeya Ibadam March 1984' sowie unten links nummeriert '35/75'. Im Passepartout und hinter Glas gerahmt (ungeöffnet).
BRUCE ONOBRAKPEYA1932 Agbara-Otor, Nigeria'ERHME' (1984) Farbplastografie (Deep Etching). 22,5 x 27,5 cm (R. 39,5 x 51 cm). Unten rechts mit Bleistift handsigniert, datiert und bez. 'Bruce Onobrakpeya Ibadam March 1984' sowie unten links nummeriert '60/75'. Im Passepartout und hinter Glas gerahmt (ungeöffnet).
BRUCE ONOBRAKPEYA1932 Agbara-Otor, Nigeria'ORAKPO UORERINVBIN MUABO' (1984) Farbplastografie (Deep Etching). DM 28 x 23 cm (R. 51 x 39,5 cm). Unten rechts mit Bleistift handsigniert, datiert und bez. 'Bruce Onobrakpeya Ibadam March 1984' sowie unten links nummeriert '4/7'. Im Passepartout und hinter Glas gerahmt (ungeöffnet).
Antoni Tàpies (1923 Barcelona - 2012 ebenda) (F)Blatt Nr. 10, aus 'Suite' (1980), Farbaquatintaradierung auf Bütten, 63,5 cm x 89,5 cm Blattmaß, signiert, e.a. bezeichnet, aus einer Auflage von 90 Exemplaren, montiert, Literatur: Wvz. Galfetti/Homs 776Antoni Tàpies (1923 Barcelona - 2012 ibid) (F)Sheet No. 10 from 'Suite', aquatint etching in colours on wove, 1980, 63.5 cm x 89.5 cm sheet size, signed, inscribed e.a., from an edition of 90, mounted Literature: Cat. rais. Galfetti/Homs 776 Antoni Tàpies was born on 13th December 1923 in Barcelona and was one of the most important artists, as well as the most important representatives of the Informel movement, in Spain. The painter, graphic artist and sculptor showed an interest in art from an early age, but only devoted himself fully to painting after dropping out of his law studies in 1946. The self-taught artist first followed the works of Vincent van Gogh and Pablo Picasso. Later he increasingly oriented himself towards the surrealist works of Joan Miró, Paul Klee and Max Ernst. In 1948 he co-founded the group ''Dau al Set''. After his Paris fellowship in 1950, Tàpies began to explore the structures of different materials and to limit his painterly means of expression to the essential. In 1959 he began to produce prints, especially lithographs. Tàpies enjoyed international success and was exhibited at documenta II, III, IV and VI in Kassel (1959-1977), among many other shows, as well as several times at the Venice Biennale. The artist's preoccupation with his native Catalonia has always been an important thematic source in Tàpies' work. In Suite Catalana, published in 1972 with Gustavo Gili from Barcelona, he uses the shapes and colours of the Catalan flag to create a powerful visual representation of emotion and protest.
§ JAMES MCINTOSH PATRICK R.S.A., R.O.I., A.R.E., L.L.D. (SCOTTISH 1907-1998) THE OLD MILL AT FOWLIS Signed, signed, inscribed and dated 1986 in the artist's hand on label verso, watercolourDimensions:51cm x 76cm (20in x 30in)Note: James McIntosh Patrick is famed for his finely-observed paintings and etchings of the Angus landscape. A Dundonian by birth, from a young age he displayed a keen interest in art and was encouraged by his architect father to draw and experiment with etching. At the age of seventeen he enrolled at the Glasgow School of Art where, owing to his creative competence, he was admitted directly into the second year of the four-year degree.It was here, studying under Maurice Grieffenhagen, that Patrick saw his first success, winning several prizes, gaining a post-diploma scholarship and acquiring important contracts for editions of prints. In the following years the etching market declined abruptly, which compelled Patrick to seek employment as a teacher at Dundee College of Art and to diversify into oil and watercolour painting. Patrick’s career was interrupted in 1940 when he was called for service in the Camouflage Corps. As with many artists of the period, World War Two was to impact significantly on his style: travelling extensively with the military, Patrick had to paint ‘en plein air’ resulting in looser and more painterly and impressionistic mark-making. He nevertheless maintained his trademark attention to detail, and the ensuing style is evident in his landscape pictures from thereon.After the War Patrick continued to paint the landscape around Dundee. He was elected an Associate member of the Royal Scottish Academy in 1949, and was made a full member eight years later. His influence as a leading landscape artist can still be felt widely, both in Scotland and further afield, and his work is held in collections internationally.
§ JAMES MCINTOSH PATRICK R.S.A., R.O.I., A.R.E., L.L.D. (SCOTTISH 1907-1998) THE LAST OF THE SNOW, NORTH BALLO Signed, inscribed and dated 1987 on artist's card verso, oil on canvasDimensions:63.5cm x 76cm (25in x 30in)Note: James McIntosh Patrick is famed for his finely-observed paintings and etchings of the Angus landscape. A Dundonian by birth, from a young age he displayed a keen interest in art and was encouraged by his architect father to draw and experiment with etching. At the age of seventeen he enrolled at the Glasgow School of Art where, owing to his creative competence, he was admitted directly into the second year of the four-year degree.It was here, studying under Maurice Grieffenhagen, that Patrick saw his first success, winning several prizes, gaining a post-diploma scholarship and acquiring important contracts for editions of prints. In the following years the etching market declined abruptly, which compelled Patrick to seek employment as a teacher at Dundee College of Art and to diversify into oil and watercolour painting.Patrick’s career was interrupted in 1940 when he was called for service in the Camouflage Corps. As with many artists of the period, World War Two was to impact significantly on his style: travelling extensively with the military, Patrick had to paint ‘en plein air’ resulting in looser and more painterly and impressionistic mark-making. He nevertheless maintained his trademark attention to detail, and the ensuing style is evident in his landscape pictures from thereon.After the War Patrick continued to paint the landscape around Dundee. He was elected an Associate member of the Royal Scottish Academy in 1949, and was made a full member eight years later. His influence as a leading landscape artist can still be felt widely, both in Scotland and further afield, and his work is held in collections internationally.
§ JAMES MCINTOSH PATRICK R.S.A., R.O.I., A.R.E., L.L.D. (SCOTTISH 1907-1998) KEITHOCK BURN Signed, signed, inscribed and dated 1989 by the artist on a label verso, watercolourDimensions:76cm x 56cm (30in x 22in)Note: James McIntosh Patrick is famed for his finely-observed paintings and etchings of the Angus landscape. A Dundonian by birth, from a young age he displayed a keen interest in art and was encouraged by his architect father to draw and experiment with etching. At the age of seventeen he enrolled at the Glasgow School of Art where, owing to his creative competence, he was admitted directly into the second year of the four-year degree.It was here, studying under Maurice Grieffenhagen, that Patrick saw his first success, winning several prizes, gaining a post-diploma scholarship and acquiring important contracts for editions of prints. In the following years the etching market declined abruptly, which compelled Patrick to seek employment as a teacher at Dundee College of Art and to diversify into oil and watercolour painting. Patrick’s career was interrupted in 1940 when he was called for service in the Camouflage Corps. As with many artists of the period, World War Two was to impact significantly on his style: travelling extensively with the military, Patrick had to paint ‘en plein air’ resulting in looser and more painterly and impressionistic mark-making. He nevertheless maintained his trademark attention to detail, and the ensuing style is evident in his landscape pictures from thereon.After the War Patrick continued to paint the landscape around Dundee. He was elected an Associate member of the Royal Scottish Academy in 1949, and was made a full member eight years later. His influence as a leading landscape artist can still be felt widely, both in Scotland and further afield, and his work is held in collections internationally. Note: Keithock Burn is beside Keithock Mill near Woodside, Angus.
§ JAMES MCINTOSH PATRICK R.S.A., R.O.I., A.R.E., L.L.D. (SCOTTISH 1907-1998) ASHLEY BRIDGE Signed, watercolourDimensions:76cm x 66cm (30in x 22in)Note: James McIntosh Patrick is famed for his finely-observed paintings and etchings of the Angus landscape. A Dundonian by birth, from a young age he displayed a keen interest in art and was encouraged by his architect father to draw and experiment with etching. At the age of seventeen he enrolled at the Glasgow School of Art where, owing to his creative competence, he was admitted directly into the second year of the four-year degree.It was here, studying under Maurice Grieffenhagen, that Patrick saw his first success, winning several prizes, gaining a post-diploma scholarship and acquiring important contracts for editions of prints. In the following years the etching market declined abruptly, which compelled Patrick to seek employment as a teacher at Dundee College of Art and to diversify into oil and watercolour painting. Patrick’s career was interrupted in 1940 when he was called for service in the Camouflage Corps. As with many artists of the period, World War Two was to impact significantly on his style: travelling extensively with the military, Patrick had to paint ‘en plein air’ resulting in looser and more painterly and impressionistic mark-making. He nevertheless maintained his trademark attention to detail, and the ensuing style is evident in his landscape pictures from thereon.After the War Patrick continued to paint the landscape around Dundee. He was elected an Associate member of the Royal Scottish Academy in 1949, and was made a full member eight years later. His influence as a leading landscape artist can still be felt widely, both in Scotland and further afield, and his work is held in collections internationally.
Minimalismus - - Sol LeWitt. (1928 Hartford, Connecticut - 2007 New York). Broken/ straight, broken aus: Grids, using straight, not-straight lines & broken lines in all their possible combinations. 1973. Radierung auf Velin. 26,9 × 26,9 cm (26,9 x 26,9 cm). Verso signiert und nummeriert. Gerahmt (ungeöffnet). Dort verso mit dem Label der Susan Sheehan Gallery. - Teils sehr schwache Braunfleckchen am Rand, diese unauffällig. Insgesamt in gutem Zustand. Prachtvoller, gratiger Abzug. Krakow, 1973.03. Kunsthalle Basel/ Kornfeld Cie, E6 a), 16. - Eines von nur 25 Exemplaren. - Hg. v. Parasol Press, Ltd., New York. - Druck bei Crown Point Press, San Francisco. 1 etching from: Grids, using straight, not-straight lines & broken lines in all their possible combinations. On paper. Signed and numbered on verso. Framed (unopened). There on verso with the label of the Susan Sheehan Gallery. - Partly very faint brown spots at margins, these unobtrusive. Overall in good condition. Splendid and burr-like print. - One of only 25 copies. - Published by Parasol Press, Ltd, New York. - Printed by Crown Point Press, San Francisco.
Antonio Zoran Music. (1909 Gorizia, Italien - 2005 Venedig). o.T. 1966. Farbradierung auf chamoisfarbenem BFK Rives. 10 x 13,8 cm (32,5 x 25 cm). Signiert. - Sehr vereinzelt mit minimalen, kleinen Braunfleckchen, diese sehr unauffällig. Insgesamt in gutem Zustand. Prachtvoller und gratiger Abzug. Mit sichtbarem Plattenrand und dem vollen Rand. Colour etching on buff BFK Rives. Signed. - Very sporadically with minimal, small brown spots, these very inconspicuous. Overall in good condition. Splendid and burr-free print. With visible platemark and the full margin.
Antonio Zoran Music. (1909 Gorizia, Italien - 2005 Venedig). o.T. 1966. Farbradierung auf chamoisfarbenem BFK Rives. 10 x 13,8 cm (32,5 x 25 cm). Signiert. - Sehr vereinzelt mit minimalen, kleinen Braunfleckchen, diese sehr unauffällig. Insgesamt wohlerhalten. Der Abzug prachtvoll. Mit sichtbarem Plattenrand und dem vollen Rand. Colour etching on buff BFK Rives. Signed. - Very sporadically with minimal, small brown spots, these very inconspicuous. At all in good condition. The print splendid. With visible platemark and the full margin.
Fluxus Nam June Paik (1932 Seoul - 2006 Miami)o.T. Radierung auf Vélin. 24 x 31,5 cm (77,5 x 60 cm). In Bleistift signiert und nummeriert. Verso mit Galeriestempel und Annotation in Bleistift. - Hauchzarte und kaum sichtbare Knickspuren im Rand. Verso mit unwesentlichen Anschmutzungen. Prachtvoller und gratiger Druck mit zartem Plattenton und vollem Rand. Eines von 100 nummerierten Exemplaren. Etching on vélin. Signed and numbered in pencil. Gallery stamp and annotation in pencil on verso. - Barely visible crease marks in margin. Verso with insignificant soiling. Splendid print with delicate plate tone and full margins. - One of 100 numbered copies.
Jahrhundertwende Emil Orlik (1870 Prag - 1932 Berlin)Japanerin im Winterkleid (groß). 1901/02. Radierung und Aquatinta auf chamoisfarbenem Kupferdruckbütten. 23,8 x 15,7 cm (38,8 x 31,5 cm). - Blatt gleichmäßig beschnitten. Verso minimal angeschmutzt. Insgesamt gut. Prachtvoller Druck mit zartem Plattenton und kräftiger Plattenkante. Glöckner 1992, 105. - Die Radierung fängt eindrucksvoll Orliks Impressionen während seiner Ersten Ostasienreise nach Japan 1900/01 ein. Etching and aquatint on buff wove paper. - Sheet evenly trimmed. Verso minimally soiled. At all good. Splendid impression with delicate plate tone and strong platemark.
Emil Orlik. (1870 Prag - 1932 Berlin). Liegendes Baby. Um 1915. Radierung in Braun auf chamoisfarbenem Vélin. 17,4 x 23 cm (24,8 x 34,2 cm). Signiert. Punktuell auf Unterlage montiert. - Mit einem kurzen Randeinriss im unteren Bereich, unauffällig und das Motiv nicht betreffend. Ecken teils zart bestoßen. Insgesamt gut. Prachtvoller, feinliniger Druck. Berührende Szene. Selten. Glöckner 1980, 159. Etching on buff wove paper. Signed. Mounted in spots under map. - With a short marginal tear in the lower area, unobtrusive and not affecting the subject. Corners partly delicately bumped. At all good. Splendid, fine impression. Touching scene. Rare.
Minimalismus - - Brice Marden. (1938 Bronxville, New York). Blatt 6 aus: 12 Views for Caroline Tatyana. 1977/ 79. Aquatintaradierung auf kräftigem, genarbten Velin. 25,3 x 35,3 cm (67 x 52 cm). Signiert und nummeriert. Punktuell auf Unterlage montiert und im Passepartout freigestellt. Dort verso mit dem Etikett der Galerie Yvon Lambert und typographischen Werkangaben. - Mit zwei unwesentlichen, blassen und kleinen Fleckchen. Verso mit leichten Spuren der ehemaligen Montierung. Insgesamt in sehr gutem Zustand. Ausgesprochen prachtvoller, klarer und gratiger Druck mit Rand, allseitig mit dem Schöpfrand. Lewinson 29f.- Eines von 50 Exemplaren. - Aus dem Portfolio "12 Views for Caroline Tatyana". - Herausgegeben von Parasol Press, New York 1989. - Druck bei Doris Simmelink, Santa Monica. - Marden greift ganz im Spirit der Minimal Art auf das Format der Serie und eine reduzierte geometrische Formensprache zurück, nimmt aber zugleich Bezug auf die klassische Säulenarchitektur. Inspiriert von der griechischen Antike und ihren Tempeln, beabsichtigt er jenes Gefühl einzufangen, das sich beim Betrachten der Säulenfassaden einstellt sowie, wenn die einzelnen Architekturelemente in harmonischer Wirkung ein einheitliches Ganzes ergeben. Die spiegelbildlich zweigeteilte Fläche unseres Drucks steht in Verbindung zum Begriff Öffnungen, so wie es jene zwischen tragenden und liegenden Architekturelementen, zwischen Säulen und Räumen geben kann. Ein Zusammenspiel von meist schwarzen und weißen Tönen stellt sich beim Besuch solcher Orte ein: Kontraste zwischen Licht und Schatten, Innen und Außen, Dichte und Leichtigkeit. Innerhalb von Mardens 12-teiliger Serie, die nach seiner Patentochter benannt ist, schaffen die Wiederholung der Formen - sieben vertikale Säulen mit einem einzigen architravischen horizontalen Element - und die Spiegelung der Strukturen Einheit und Gleichgewicht. Selten. No.6 from: 12 Views for Caroline Tatyana. Aquatint and etching on strong, grained wove paper. Signed and numbered. Mounted in spots to underlying mat and free-standing in mat. There on the verso with the label of the Galerie Yvon Lambert and typographical indications of the work. - With two insignificant, pale and small stains. Verso with slight traces of the previous mounting. Overall in a very good condition. Extremely splendid, rich and burr-like impression with margin, deckle edge on all sides. - One of 50 copies. - From the portfolio "12 Views for Caroline Tatyana". - Published in 1989 by Parasol Press, New York. Printed by Doris Simmelink, Santa Monica. Rare.
Pierre Soulages. (1919 Rodez - 2022 Nimes). Lithograph numéro 3. 1986. Radierung auf Velin. 10 x 8 cm (29,8 x 21 cm). In der Platte typographisch mit dem Künstlernamen und Druckernamen bezeichnet. Zudem mit dem Trockenstempel der Post-Druckerei, dem Künstlerstempel, der Piere-Soulages-Briefmarke (dieser anteilig gestempelt) sowie weiteren typographischen Annotationen zur Edition. - Guter Zustand. Ausgezeichneter und gratiger Druck mit tiefschwarzer und feingratiger Struktur. Druck bei Atelier Eugène Lacaque. - Anlässlich der Einführung der Pierre-Soulages-Briefmarke von der l'Administration des Postes et Télécommunications (Französische Post) für das Musée de la Poste 1986 herausgegeben. - Nach der gleichnamigen Lithographie von 1957. Etching on wove paper. Inscribed typographically in the plate with the artist's name and printer's name. In addition with the dry stamp of the postal printing office, the artist's stamp, the Piere-Soulages stamp (this one partially stamped) as well as further typographic annotations to the edition. - Good condition. Excellent and burr-like impression with deep black and fine-grained structure. - Printed by Atelier Eugène Lacaque. - Published on the occasion of the introduction of the Pierre Soulages stamp by l'Administration des Postes et Télécommunications (French Post Office) for the Musée de la Poste in 1986. - After the lithograph of the same name from 1957.
Sammmlung von 5 Graphiken der 1910er und 20er Jahre. Verschiedene Techniken, u. A. mit Holzschnitt, Radierung und Farblithographien. Je auf Velin. Blattmaße von 42 x 33,5 cm bis 39 x 50,5 cm. Je signiert, teils betitelt bzw. datiert. 2 Arbeiten auf Unterlage punktuell montiert, 1 Arbeit zusätzlich unter Passepartout. - Teils mit Knick- und Lagerspuren. Vereinzelt mit Flecken oder kleineren Fehlstellen am Rand. Mit kräftigen Abzügen in hervorragenden Druckzuständen. Mit Arbeiten von: - Robert Genin - Rudolf Grossmann - Klaus Wrage - Ottomar Starke (2). - Beigegeben: 2 Kohlezeichnungen auf Papier eines unbekannten Künstlers. Collection of 5 prints from the 1910s and 20s. Various techniques, including woodcut, etching and colour lithographs. Each on paper. Each signed, partly titled and dated. 2 works spot-mounted on backing, 1 work additionally mounted under passepartout. - Partly with traces of creasing and storage. Occasionally with stains or smaller missing parts at margins. With strong impressions. - With works of artists as listed above. - Added: 2 charcoal drawings on paper by an unknown artist.
Neue Wilde A.R. Penck (d.i. Ralf Winkler) (1939 Dresden - 2017 Zürich)Westerlebnisse. 1983. Aquatintaradierung auf Bütten. 29,6 x 49 cm (53,5 x 75,3 cm). Mit Bleistift signiert und nummeriert. - Ausgezeichneter, tiefschwarzer Druck mit dem vollen Rand und einseitigem Schöpfrand Eines von 35 Exemplaren. Aquatint etching on laid paper. Signed and numbered in pencil. - Excellent, deep black print with the full margin and one-sided scoop margin. - One of 35 copies.
Hard-Edge - - Kenneth Noland. (1924 Asheville (USA) - 2010 Port Clyde (USA)). Marron. 1990. Farbradierung und Aquatinta auf Vélin. 37 x 55,9 cm (40,3 x 59 cm). Monogrammiert und nummeriert. Zusätzlich mit dem Künstlermonogramm als Trockenstempel. - Guter Zustand. Ausgezeichenter und ausdrucksstarker Druck. Die formatfüllende Darstellung mit dem vollen Rand. Eines von 50 Exemplaren. - Hg. v. Ediciones Polígrafa, Barcelona. Colour etching and aquatint on wove paper. Monogrammed and numbered. Additionally with the artist's monogram as dry stamp. - Good condition. Excellent and expressive impression. The format-filling depiction with the full margin. - One of 50 copies. - Published by Ediciones Poligrafa, Barcelona.
Kubismus - - Albert Gleizes. (1881 - 1953 Paris). 5 Arbeiten aus: Pensées sur L`homme et dieu. 1950. Je Radierung auf chamoisfarbenem Montval a la main (mit dem Wasserzeichen). Blattmaße von 13,6 x 11,5 cm bis 32,5 x 24,2 cm. Partiell recto und verso mit typographischem Text. - 2 Arbeiten mit punktuellen blassbraunen Fleckchen, auch verso. Teils mit dem vollen Rand. Insgesamt in gutem Zustand. Prachtvolle Drucke mit subtilem Plattenton. Enthält u. A.: - L'homme parmi les no,bres et les symboles - Retour de la bataille - Divertissement - Allusion au nez de Cléopâtre. - Aus "Pensees sur l'homme et dieu. Choix et classement de Genevieve Lewis. Gravures originales d'Albert Gleizes." Hg. von Editions de la Cigogne (J. Klein), Paris 1950. 8 works from: Pensées. Sur L`homme et dieu. Each etching on buff wove paper. Partly recto and verso with typographic text. - 2 works with pale brown spots, also on verso. Altogether in good condition. Splendid prints with subtle plate tone. - With works among others as listed above.
Informel Hann Trier (1915 Düsseldorf - 1999 Castiglione)Charlottenburg II. 1973. Aquatintaradierung auf chamoisfarbenem Velin. 58 x 48 cm (75 x 60,5 cm). Signiert und nummeriert. - Kanten punktuell unwesentlich angestoßen. Insgesamt in gutem Zustand. Prachtvoller Druck mit dem vollen Rand und an einer Seite mit dem Schöpfrand. Gerlach-Laxner G 149. - Eines von 20 Exemplaren. Aquatint etching on buff handmade paper. Signed and numbered. - Edges insignificantly bumped in places. Overall in good condition. Splendid impression with the full margins and on one side with the scooped margin. - One of 20 copies.
Salvador Dalí. (1904 - 1989 Figueras). Troilus und Cressida. 1968. Kaltnadelradierung auf chamoisfarbenem BFK Rives. 17,5 x 12,5 cm (37,5 x 27,8 cm). Signiert und bezeichnet "EA". Punktuell auf Unterlage montiert und im Passepartout freigestellt. - Im oberen Rand zart gebräunt. Prachtvolle und gratige Radierung mit schönem Plattenrand. Michler/ Löspinger, 277 c. - Exemplar "Épreuve d`artiste" abseits der herkömmlichen Auflage. - Aus der Serie "Shakespeare I", 1968. Drypoint on buff BFK Rives. Signed and inscribed "EA". Mounted in spots on backing and exposed in passepartout. - Slightly browned along upper margin. Burr etching with beautiful platemark. - Copy "Epreuve artiste" off the edition. - From the series "Shakespeare I", 1968.
Kubismus - - Albert Gleizes. (1881 - 1953 Paris). 6 Arbeiten aus: Pensées sur L`homme et dieu. 1950. Je Radierung auf chamoisfarbenem Montval a la main (mit dem Wasserzeichen). Teils recto und verso mit typographischem Text. - Wenige Blätter mit blassbraunen Fleckchen. Insgesamt in wirklich gutem Zustand. Prachtvolle Drucke. Kontrastreich und mit zartem Plattenton. Enthält: - Pour la méditation - Géométrie, cadenes, forme - L`homme vit, la mort à ses côtés - Gloire, guerrier. Mars - Le roseau pensant - L'ange et la bête. - Aus "Pensees sur l'homme et dieu. Choix et classement de Genevieve Lewis. Gravures originales d'Albert Gleizes." Hg. von Editions de la Cigogne (J. Klein), Paris 1950. 6 works from: Pensées sur L`homme et dieu. Each etching on buff wove paper. Partly recto and verso with typographic text. - Few leaves with pale brown spots. Altogether in really good condition. Splendid prints. Rich in contrast and with delicate plate tone. - With works as listed above.
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