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Click here to subscribeEduardo Chillida (1924 San Sebastián - 2002 ebenda)"Luze". OriginaltitelRadierung mit Plattenton/Arches-Velin, 1972. Sign. u. nummeriert 30/50. Gedruckt von Arte, Paris; Hrsg. Maeght, Paris. Wvz. van der Koelen 72022. Gebräunt, helle Flecken. Plattenmaß 19 cm x 14 cm; Blatt 50 cm x 43 cm. Rahmen.Etching on Rives wove paper, 1972. Hand-signed and numbered 30/50. Sun staining and bright stains.
Shoichi Hasegawa (Japanese, b. 1929) Splendeurs sous-marines Etching on Moulin de Gue paper Signed and titled in pencil on margins Numbered EA 3/25 Framed 62 x 52cm (24" x 20.2") Shoichi Hasegawa (Japanese, b 1929) is a contemporary Japanese abstract painter and printmaker. His watercolors, transparent yet dense and symbolically coded, are influenced by Lyrical Abstraction and artists like Mark Rothko and Paul Klee. He employs soft, pastel palettes and layered textures to create works that reflect the laborious process that goes into their making. Born in Yazu, Japan in 1929, Hasegawa studied drawing and painting at the Kokuga Institute in Kyoto, Japan. In 1961, he moved to Paris to work with the British artist Stanley William Hayter at Atelier 17, and began showing work internationally at that time. Today, Hasegawa’s paintings and delicate prints are in the collections of the Bibliothèque nationale in Paris, The Museum of Modern Art in New York, the Victoria and Albert Museum in London, the Norrköpings Museum of Art, and the Museum Fuji in Tokyo. Hasegawa lives and works in Val-d'Oise, France—notably, the same place where the celebrated Impressionist master Claude Monet once lived. This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Shoichi Hasegawa (Japanese, b. 1929) Riviere Bleue Etching on Moulin du Gue paper Signed and titled in pencil on margins Numbered 37/110 Framed 62 x 52cm (24" x 20.2") Shoichi Hasegawa (Japanese, b 1929) is a contemporary Japanese abstract painter and printmaker. His watercolors, transparent yet dense and symbolically coded, are influenced by Lyrical Abstraction and artists like Mark Rothko and Paul Klee. He employs soft, pastel palettes and layered textures to create works that reflect the laborious process that goes into their making. Born in Yazu, Japan in 1929, Hasegawa studied drawing and painting at the Kokuga Institute in Kyoto, Japan. In 1961, he moved to Paris to work with the British artist Stanley William Hayter at Atelier 17, and began showing work internationally at that time. Today, Hasegawa’s paintings and delicate prints are in the collections of the Bibliothèque nationale in Paris, The Museum of Modern Art in New York, the Victoria and Albert Museum in London, the Norrköpings Museum of Art, and the Museum Fuji in Tokyo. Hasegawa lives and works in Val-d'Oise, France—notably, the same place where the celebrated Impressionist master Claude Monet once lived. This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Anthony Fry (b.1927-2016) Indian Bed Carborundum etching on paper Signed and numbered Limited edition No. 22/30 Framed & glazed 40 x 45cm (16.5" x 18") Anthony Fry was born on 6 June 1927 in Theydon Bois, Essex, to Dr Lewis Salisbury Fry (1898–1968) and Margaret Mary Fry (1898–1986). Dr Fry was a descendant of the Quaker founders of the Bristol-based chocolate business J.S. Fry & Sons. Fry went on to study painting at Edinburgh College of Art and Camberwell School of Arts and Crafts under William Coldstream, Victor Pasmore and Lawrence Gowing. In 1950 Fry won the Prix de Rome for his painting The Betrayal, and with the award a two-year scholarship at the British School at Rome. Fry went from strength to strength in the painting world. Fry's paintings are held in numerous private and public collections, including the Tate, the Arts Council of Great Britain, the Saatchi Collection, the Stuyvesant Foundation, the Gulbenkian Foundation Collection and the National Gallery of Victoria, Australia. This lot is also sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Robert Motherwell (1915-1991) Bloomsday - 1982 Etching and aquatint in cream and black on German etching paper Signed upper right and numbered 16/31 Framed and glazed 54 x 70cm (21" x 27.5") Robert Motherwell (1915 – 1991) was an American abstract expressionist painter, printmaker, and editor of The Dada Painters and Poets: an Anthology. He was one of the youngest of the New York School, which also included Willem de Kooning, Jackson Pollock, and Mark Rothko. He was known for his series of abstract paintings and prints which touched on political, philosophical and literary themes, such as the Elegies to the Spanish Republic. During an over five-decade-long career, Motherwell created a large and powerful body of varied work that includes paintings, drawings, prints and collages. Motherwell's work is most generally characterized by simple shapes, broad colour contrasts and a dynamic interplay between restrained and gestural brushstrokes. Above all, it demonstrates his approach to art-making as a response to the complexity of lived, and more importantly felt, experience. This lot is also sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Peter Blake (British, b. 1932) For John Constable - Liberty as Suffolk child by John Constable Etching, signed and numbered 66/100. Comes with two postcards, comprising "A Suffolk Child" by John Constable printed for V & A museum and the Blake's etching. Published by Bernard Jacobson 1976. 13 x 11.5cm ( 5" x 4 6/8") From the Bernard Jacobson Gallery Collection Sir Peter Thomas Blake CBE RDI RA (born 25 June 1932) is an English pop artist. He co-created the sleeve design for the Beatles' 1967 album Sgt. Pepper's Lonely Hearts Club Band. His other works include the covers for two of The Who's albums, the cover of the Band Aid single "Do They Know It's Christmas?", and the Live Aid concert poster. Blake also designed the 2012 Brit Award statuette. Blake is a prominent figure in the pop art movement. Central to his paintings are his interest in images from popular culture which have infused his collages. In 2002 he was knighted at Buckingham Palace for his services to art. From the late 1950s, Blake's paintings included imagery from advertisements, music hall entertainment, and wrestlers, often including collaged elements. Blake was included in group exhibitions at the Institute of Contemporary Arts. In the "Young Contemporaries" exhibition of 1961 in which he exhibited alongside David Hockney and R. B. Kitaj, he was first identified with the emerging British Pop Art movement. Blake won the (1961) John Moores junior award for Self Portrait with Badges. He came to wider public attention when, along with Pauline Boty, Derek Boshier and Peter Phillips, he featured in Ken Russell's Monitor film on pop art, Pop Goes the Easel, broadcast on BBC television in 1962. From 1963, Blake was represented by Robert Fraser placing him at the centre of Swinging London and bringing him into contact with leading figures of popular culture. Blake had his first solo exhibition with Robert Fraser Gallery in 1965 and appeared on the front cover of LIFE International in a photograph by Lord Snowdon. Blake was given the final exhibition held at Robert Fraser Gallery which closed in 1969. The same year, Blake had his first exhibition with Waddington Galleries, owned by Leslie Waddington who became his lifelong supporter and representative. In 1999, Blake painted Leslie Waddington with Portrait of a Young Man by Hans Memling. Blake participated in Prince Edward's charity television special The Grand Knockout Tournament in 1987. This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
William Tillyer (British, b 1938) York Vases - Chinese Red- 1981 Woodblock print Edition no. 84/100 Signed and numbered in pencil bottom right Framed and glazed 77 x 62cm (30.5" x 24 5/8") William Tillyer is a celebrated British painter and watercolourist whose work has been shown frequently in London and New York since the 1970s. Tillyer was born in Middlesbrough and studied painting at Middlesbrough College of Art. He then went on to study at London's Slade School of Fine Art. He began to make radically experimental work, which raised questions about the relationship of art to the world, and of man to nature. The 1970s saw Tillyer return to printmaking with renewed vigour, using a variety of techniques - from etching to five-tone screenprinting - to create lattices that Pat Gilmour described as 'a cool and unpeopled world...in which to reflect the surrounding flux of nature'. Tillyer has been invited to work internationally in locations including Cadiz, Spain; Tobago, Republic of Trinidad and Tobago; Count Kerry, Ireland for the Cill Rialaig Project; and Melbourne, Australia. Tillyer has served as a visiting professor at Brown University in the United States, the Bath Academy of Art, and the Chelsea School of Art. Tillyer has exhibited internationally, and his work can be found in the collections of major institutions including the Brooklyn Museum and Museum of Modern Art in New York; the Art Gallery of Western Australia in Perth; the Arts Council Collection; the Middlesbrough Institute of Modern Art; and Tate and the Victoria and Albert Museum in London. This lot is also sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Untitled. Pastel on paper drawing depicting an intimate creek-side forest scene in the impressionist style. Blue matte border with a textured wood frame. Artist signature on Verso. Includes certificate of authenticity signed by artist. Deann Prosia is an American artist based in New Jersey and is known for her works in etching, watercolor, and pastels. Sight size: 9.5"W x 7.5"H; frame: 12.75"W x 10.75"H x 1"D. Artist: Deann Prosia
Outstanding original black and white etching on wove paper of biblical figure Jonah in the belly of the whale. Jonah is depicted as a Greco-Roman heroic figure as he sits in a stoic pose. Signature on lower right: Paul Russell. Title and edition on lower left: Jonah A/P. Housed in a silver rim black frame with a black mat. Sight size: 19"L x 15"H. Frame size: 25.20"L x 21"H x 1.50"W. Artist: Paul Russell (American, 20th Century)Issued: c. 1970Edition Number: Artist Proof Country of Origin: United States
Title: Twelve Months of Fruit. Includes May, June, and July. Each month in this series illustrates the fruits that ripen within that month. Etching plate prints were originally released in 1732 on a monthly subscription basis and were based on Pieter Casteel's (1684-1749) paintings. Robert Furber was a well-known English Horticulturist based in Kensington best known for 12 Months of Flowers. Full-color prints housed in dark wood frames with glass glaze. Sight size: 15.25"W x 19.5"H; frame: 17.75"W x 22"H x 1"D. Artist: Robert Furber
Etching print on paper depicting a grouse in flight in a birch forest. Exquisitely detailed and perfectly conveys the thrilling moment when the forest silence is broken by the sudden flight of a hunter's prey. Signed in pencil by artist in lower right corner. Walter E. Bohl was an American artist born in Columbus, Wisconsin and quickly gained notoriety for his drypoint etchings and watercolor paintings. His work was frequently published in Esquire magazine and is now included in public collections such as the Smithsonian American Art Museum. Housed in gold tone frame with canvas mat board. Sight size: 16.5"W x 21"H; frame: 18"W x 23"H x 0.75"D. Artist: Walter E. BohlIssued: ca. 1934
Title: S. Damiano Assisi. Black ink etching on laid paper depicting a shadowy olive tree grove with the San Damiano Monastery nestled in the background. T 1924 found in the lower left corner of the etching. Signed Laurenzi in the lower left and titled in pencil on the right. Print is mounted within a white matboard border with black painted wood frame; satin finished glazing. Sight size: 17"W x 15"H; frame: 18"W x 16"H x 1.25"D. Artist: Laurenzio Laurenzi
Etching print on paper depicting a nude woman being groped and leered at by a young man and an old woman. Text on lower left reads Senor Ismael Smith 1919. Pencil signed by artist in lower right corner dated 1923. Black frame with glaze; cream white matte border. Sight size: 9.5"W x 11.25"H; frame: 10.5"W x 12"H x 0.25"D. Artist: Ismael Smith Y MariIssued: 1919-1923
Three framed offset lithograph prints on paper. Each print presents two or three saltwater reef fish and either their binomial Latin names or names in an indeterminable language. Prints made after hand-colored etching prints created in 1842. Two small prints have solid wood frames and largest print has a beveled gold and black frame. Small print measurements: sight sizes: 5"W x 8.25"H; frames: 10"W x 13"H x 1.25"D. Large print: sight size: 11"W x 15"H; frame: 16"W x 20"H x 1.5"D.
Title: Woodland Retreat. Framed dry point etching on paper depicting a woodcock midflight framed by leafless branches. Signed and titled in pencil by the artist on the bottom border. Gold-tone frame with canvas mat board. Walter E. Bohl was an American artist born in Columbus, Wisconsin and quickly gained notoriety for his drypoint etchings and watercolor paintings. His work was frequently published in Esquire magazine and is now included in public collections such as the Smithsonian American Art Museum. Sight size: 16.5"W x 21.25"H; frame: 18"W x 23"H x 0.5"D. Artist: Walter E. BohlIssued: ca. 1934
Title: Twelve Months of Fruit. Includes July, August, and October. Each month in this series illustrates the fruits that ripen within that month. Etching plate prints were originally released in 1732 on a monthly subscription basis and were based on Pieter Casteel's (1684-1749) paintings. Robert Furber was a well-known English Horticulturist based in Kensington best known for 12 Months of Flowers. Full-color prints housed in dark wood frames with glass glaze. Sight size: 15.25"W x 19.5"H; frame: 17.75"W x 22"H x 1"D. Artist: Robert Furber
Gillray (James) The King of Brobdingnag, and Gulliver. -Vide. Swift's Gulliver: Voyage to Brobdingnag, etching and aquatint with original hand-colouring, an excellent impression on wove paper without watermark, platemark 355 x 252 mm (14 x 10 in), sheet 425 x 298 mm (16 3/4 x 11 3/4 in), wide margins but without deckle edge, minor surface dirt, light browning and handling creases, unframed, [BM Satires 10019], Hannah Humphrey, 1803⁂ George III, half length, stands in profile to the left, a holding a tiny Napoleon on the palm of his right hand, and inspecting him through a spy-glass. Lord Holland notes (MS.) that the print was shown to the King who exclaimed 'quite wrong quite wrong no bag with uniform!!!'. [BM]
Remarque (Erich Maria) All Quiet on the Western Front, first English edition, publisher's printed promotional flyer with First Press Opinions loosely inserted, etching bookplate to front pastedown, light toning to endpapers, original buckram, lettered in green, slight toning to spine, first issue dust-jacket priced at 7/6, spine slightly faded, a few small nicks to spine ends and corners, light creasing to head, but a near-fine example overall, preserved in custom drop-back box, 8vo, 1929.
Salt (Henry) Pagoda at Ramisseram, etching and aquatint, by J. Buck, with vibrant hand-colouring, on thick wove paper without watermark, platemark 480 x 675 mm (18 7/8 x 26 1/2 in), sheet 550 x 760 mm (21 3/4 x 29 7/8 in), small marginal repair to lower left corner, ink stain in the far upper right corner, well outside the image, minor surface dirt, unframed, [Abbey Travel 515], William Miller, 1809Provenance:From the Collection of the Late W.G. and Mildred Archer; thence by descent.⁂ Plate 9 from Salt's 'Twenty Four Views in St. Helena, the Cape, India...',
Gillray (James) The Plumb-pudding in danger: -or- State Epicures taking un Petit Souper, etching with hand-colouring, an excellent well inked and clear impression on wove paper with 'J. Ruse' watermark with date '1802', platemark 261 x 358 mm (10 1/4 x 14 in), sheet 257 x 358 mm (10 x 14 in), full margins with deckle edges, faint exposure lines in the margin, small perforation to centre left margin, surface dirt and browning to margins, two repaired tears in the lower margin, well outside the platemark, some associated minor cockling, unframed, [BM Satires 10371], Hannah Humphrey, 1805⁂ The most famous of all Gillray's satirical caricatures, if not the most famous of all political cartoons. Napoleon Bonaparte and William Pitt face each other across a steaming 'plum-pudding' globe, both intent on carving themselves a substantial portion of the world.
Daniell (Thomas) Ramnugur, near Benares, on the River Ganges, from Oriental Scenery, etching and aquatint with full hand-colouring, an excellent impression on thick Whatman wove paper with watermark date of '1794', platemark 495 x 650 mm (18 7/8 x 24 3/4 in), sheet 510 x 660 mm (20 1/8 x 26 in), slightly trimmed margins, minor surface dirt, unframed, [Abbey 420, no. 15], Robert Bowyer, 1796Provenance:From the Collection of the Late W.G. and Mildred Archer; thence by descent.Literature:Archer, Mildred, Early Views of India, The Picturesque Journeys of Thomas and William Daniell 1786-1794, 1980, pl. 14.⁂ View looking towards the eastern right bank of the Ganges River, opposite to the Varanasi Ghats, including the Ramnagar Fort, a sandstone structure built in the Rajputana style in 1750 by Kashi Naresh Maharaja Balwant Singh.
Daniell (Thomas) and William Daniell. The Observatory at Delhi, from Antiquities of India, etching and aquatint with full hand-colouring, an excellent impression on Whatman wove paper without watermark date, platemark 490 x 650 mm (19 1/4 x 25 1/2 in), sheet 525 x 705 mm (20 3/4 x 27 3/4 in), some spotting, surface dirt, unframed, [Abbey 420, no. 71], published by the artist, 1808Provenance:From the Collection of the Late W.G. and Mildred Archer; thence by descent.Literature:Archer, Mildred, Early Views of India, The Picturesque Journeys of Thomas and William Daniell 1786-1794, 1980, no. 40.⁂ The Jantar-Mantar was one of a series of observatories raised at Delhi, Jaipur, Ujjain, Benares and Mathura in about 1724 by Maharaja Jai Singh II of Jaipur, on instructions from the Mughal Emperor, Muhammad Shah, to reform the Hindu calendar. The Daniell' visited the site on the 24th February 1789 [see Archer, op. cit.]
Napoleon.- Houssaye (Henry) Napoléon Homme de Guerre, first edition, out-of-series copy on Japon (limited to 5 copies with 4 additional states), from an edition limited to 215, etched frontispiece and illustrations by Charles Morel, this the author's own copy with original watercolour portrait, 7 additional states of the etching, 2 unused etchings and 4 leaves of text printed with unused illustrations, bookplate of the author, bound in magnificent red morocco inlaid with intricate mosaic pattern tooled in gilt, by Joly fils, covers with quintuple gilt fillet border surrounding panel with all-over diaper pattern of small inlaid black morocco lozenges tooled with alternate imperial eagles and laurel wreaths in gilt, all within gilt lattice with small circles at intersections, spine titled in gilt and with inlaid compartments and five raised bands tooled in gilt, inner gilt dentelles, red silk doublures and flyleaves, signed at foot of front turn-in, original printed wrappers bound in, g.e., preserved in half red morocco chemise, spine gilt with imperial eagle motifs, marbled board slip-case, 12mo (c.160 x 115mm.), Paris, 1904.⁂ A stunning binding on a unique copy of this Napoleonic work, with much additional material.
Daniell (Thomas) and William Daniell. View Near Bangalore, from Antiquities of India, etching and aquatint with full hand-colouring, an excellent impression on Whatman wove paper without watermark date, platemark 490 x 650 mm (19 1/4 x 25 1/2 in), sheet 530 x 710 mm (20 7/8 x 28 in), minor surface dirt and faint spots, unframed, [Abbey 420, no. 68], published by the artist, 1808.Provenance:From the Collection of the Late W.G. and Mildred Archer; thence by descent.Literature:Archer, Mildred, Early Views of India, The Picturesque Journeys of Thomas and William Daniell 1786-1794, 1980, no. 101.
Daniell (Thomas) Ruins at the Antient City of Gour Formerly on the Banks of the River Ganges, from Oriental Scenery, etching and aquatint with full hand-colouring, an excellent impression on Whatman wove paper with watermark date of '1794', sheet 510 x 690 mm (20 1/8 x 27 1/8 in), lower edge trimmed irregulalry to or just within the platemark, otherwise good margins, slightly weak along platemark impression marks, minor handling creases, small repaired nicks to edges, minor surface dirt, unframed, [Abbey 420, no.5], published by the artist, 1795Provenance:From the Collection of the Late W.G. and Mildred Archer; thence by descent.Literature:Archer, Mildred, Early Views of India, The Picturesque Journeys of Thomas and William Daniell 1786-1794, 1980, no. 91.
Bosse (Abraham) Traicté des Manieres de Graver en Taille Douce Sur l'Airin, first edition, 21 full-page engraved plates on 14 ff. including 2 additional engraved titles, dedication f., and 16 engraved plates, most printed on rectos and versos of the leaves, numbers 5 and 6 repeated as usual, front endpapers browned at margins and front endpapers working loose, contemporary speckled calf, joints cracked but holding firm, corners rubbed, 8vo, Paris, Bosse, 1645.⁂ Scarce first edition of the first treatise on intaglio printmaking. Bosse was a prolific engraver and author of several works on the arts of painting, drawing, and perspective. His treatise on the intaglio techniques, dedicated to "Messieurs les Amateurs" of the arts of engraving and etching, contains a lengthy and detailed series of instructions touching every aspect of engraving with a burin and etching on both hard- and soft-grounds.
Gillray (James) A Voluptuary Under the Horrors of Digestion, etching and stipple-engraving with original hand-colouring, on wove paper without watermark, sheet 358 x 265 mm (14 1/4 x 10 1/2 in), trimmed to or just within the platemark, minor surface abrasion and dirt lower corners, unframed, [BM Satires 8112], Hannah Humphrey, 1792⁂ A corpulent Prince of Wales rests in an armchair by a dining table covered with the remains of his substantial meal, his waistcoat and trousers all but unbuttoned, an overflowing chamber pot rests on unpaid bills, his gambling debts and related items lie on the floor.
Daniell (Thomas) and William Daniell. The Punj Mahalla Gate, Lucknow, from Oriental Scenery, etching and aquatint with full hand-colouring, an excellent impression on Whatman wove paper without watermark date, platemark 485 x 660 mm (19 x 26 in), sheet 525 x 705 mm (20 3/4 x 27 3/4 in), handling creases, minor surface dirt, unframed, [Abbey 420], published by the artist, 1801Provenance:From the Collection of the Late W.G. and Mildred Archer; thence by descent.Literature:Archer, Mildred, Early Views of India, The Picturesque Journeys of Thomas and William Daniell 1786-1794, 1980, no. 62.⁂ July-October 1789. 'The plainness and simplicity of this edificeis more striking than the richness of its decorations; a circumstances seldom occuring in gateways belonging to Mahomedan princes. This gate leads to a palace erected by Nawaub Sujah ul Dowla'. [Archer, op. cit.]
Gillray (James) The King of Brobdingnag and Gulliver. (Plate 2d.), etching with original hand-colouring, on wove paper without watermark, sheet 345 x 450 mm (16 3/4 x 22 1/2 in), trimmed within the platemark to the borderline, repaired tear and small nick to the left margin, minor handling creases, unframed, [BM Satires 10227], Hannah Humphrey, 1804⁂ The King and Queen sit on chairs of state intently watching a rectangular tank in which Napoleon as Gulliver sails his little boat, manoeuvering the single sail. Behind the King's chair Lord Salisbury stands stiffly, holding his wand of office. [BM]
Gillray (James) Physical Aid,-or-Britannia recover'd from a Trance; -also, the patriotic courage of Sherry Andrew: & a peep thro' the Fog, etching with original hand-colouring, on wove paper without watermark, sheet 262 x 365 mm (10 1/4 x 14 3/8 in), hinged into mount, thread margins or trimmed to platemark, minor spotting and surface dirt, unframed, [BM Satires 9972], Hannah Humphrey, 1803.
Salt (Henry) A View at Lucknow, etching and aquatint, by D. Havell, with vibrant hand-colouring, on thick Whatman wove paper with watermark date '1806', platemark 480 x 675 mm (18 7/8 x 26 1/2 in), sheet 540 x 760 mm (21 1/4 x 29 7/8 in), minor spotting and surface dirt, unframed, [Abbey Travel 515], William Miller, 1809Provenance:From the Collection of the Late W.G. and Mildred Archer; thence by descent.⁂ Plate 6 from Salt's 'Twenty Four Views in St. Helena, the Cape, India...',
Daniell (Thomas) The Sacred Tree of the Hindoos at Gyah, Bahar, plate 15 from Oriental Scenery, etching and aquatint with full hand-colouring, an excellent impression on thick Whatman wove paper with watermark date of '1794', platemark 480 x 630 mm (18 7/8 x 24 3/4 in), sheet 530 x 700 mm (20 7/8 x 27 1/2 in), minor handling creases and small nicks to edges, minor surface dirt, unframed, [Abbey 420, no. 16], Robert Bowyer, 1796Provenance:From the Collection of the Late W.G. and Mildred Archer; thence by descent.Literature:Archer, Mildred, Early Views of India, The Picturesque Journeys of Thomas and William Daniell 1786-1794, 1980, pl. 15.⁂ One of the most important pilgrimage sites in India, with the Akshaya Vata or Undying Banyan Tree, where pilgrims make offerings to the spirit of their ancestors. The Daniell's were there in March 1790, with Thomas Daniell noting "Gyah is a place of great antiquity, much resorted to by the Hindoos...[with] fragments of mutilated idols, the work of Mahomeddan intolerance.. still regarded with veneration."
Gillray (James) The Balance of Power. -or- "The Posterity of the Immortal Chatham, turn'd Posture Master", etching with hand-colouring on laid paper with large watermark of Strasbourg lily with initials 'GR', sheet 352 x 247 mm (13 7/8 x 9 3/4 in), thread margins, small repaired nick to centre left, unframed, [BM Satires 7846], H. Humphrey, London, 1791
Daniell (Thomas) Govinda Ram Mittee's Pagoda, Calcutta, from Oriental Scenery, etching and aquatint with full hand-colouring, an excellent impression on thick Whatman wove paper with watermark date of '1794', platemark 480 x 650 mm (18 7/8 x 25 1/2 in), sheet 530 x 715 mm (20 7/8 x 28 1/8 in), minor handling creases, repaired nick to upper right corner, three small repaired tears to lower edge, small unrepaired tear to left margin, minor surface dirt, unframed, [Abbey 420], published by the artist, 1798Provenance:Kerr & Co., Calcutta ("Guarantee" ink stamp verso)From the Collection of the Late W.G. and Mildred Archer; thence by descent.Literature:Archer, Mildred, Early Views of India, The Picturesque Journeys of Thomas and William Daniell 1786-1794, 1980, no. 97.
Daniell (Thomas) Remains of an Ancient Building near Firoz Shah's Cotilla, Delhi, from Oriental Scenery, etching and aquatint with full hand-colouring, an excellent impression on thick Whatman wove paper with watermark date of '[?]1801', platemark 485 x 645 mm (19 1/8 x 25 1/2 in), sheet 530 x 700 mm (20 7/8 x 27 1/2 in), minor surface dirt, a few small spots, unframed, [Abbey 420, no. 12], published by the artist, 1795.Provenance:From the Collection of the Late W.G. and Mildred Archer; thence by descent.Literature:Archer, Mildred, Early Views of India, The Picturesque Journeys of Thomas and William Daniell 1786-1794, 1980, no. 42.
Gillray (James) Disciples Catching the Mantle - The Spirit of Darkness Overshadowing the Priests of Baal, etching with hand-colouring, an excellent vibrant impression on wove paper without watermark, platemark 400 x 340 mm (15 3/4 x 13 3/8 in), sheet 425 x 365 mm (16 3/4 x 14 3/8 in), small minor repairs to margins, some surface dirt and browning, scraping to old adhesive visible verso, unframed, [BM Satires 10992], Hannah Humphrey, 1808.Provenance:Spanish Library, probably 19th century [crowned ink stamp verso, not in Lugt]Humphrey Minto-Wilson (1938-1951) [Lugt 1922a, red ink stamp verso]⁂ Satire showing William Pitt the Younger is borne upwards in a chariot of swirling clouds of flame drawn by four horses abreast, and snorting fire, while his eyes are fixed on a broad beam of light inscribed 'Immortality', numerous figures below,
Daniell (Thomas) and William Daniell. Entrance to a Hindoo Temple, near Bangalore, from Oriental Scenery, etching and aquatint with full hand-colouring, an excellent impression on Whatman wove paper with watermark date '1817', platemark 490 x 650 mm (19 1/4 x 25 1/2 in), sheet 530 x 710 mm (20 7/8 x 28 in), minor surface dirt and faint spots, unframed, [Abbey 420, no. 69], published by the artist, 1808 or slightly later.Provenance:From the Collection of the Late W.G. and Mildred Archer; thence by descent.Literature:Archer, Mildred, Early Views of India, The Picturesque Journeys of Thomas and William Daniell 1786-1794, 1980, no. 102.
Gillray (James) Substitutes for Bread - or - Right Honorables Saving the Loaves and Dividing the Fishes, etching with original hand-colouring, an excellent impression on wove paper without watermark, platemark 248 x 350 mm (9 3/4 x 13 3/4 in), sheet 270 x 380 mm (10 5/8 x 14 7/8 in), hinged into mount, minor exposure lines within the margins, light spotting and surface dirt, unframed, [BM Satires 8707], Hannah Humphrey, 1795.
Gillray (James) Introduction of Citizen Volpone & his Suite at Paris - vide The Moniteur & Cobbetts Letters, etching with vibrant hand-colouring, an excellent impression on wove paper with watermark initials 'E.P.', platemark 253 x 354 mm (10 x 13 7/8 in), sheet 256 x 388 mm (10 x 15 1/4 in), hinged into mount, numbered in ink 'f. 266' within the upper right margin, minor surface dirt unframed, [BM satires 9892], Hannah Humphrey, 1802 Provenance:C.F. (Unidentified collector's stamp verso, seemingly not recorded by Lugt]
Daniell (Thomas) Near Currah, on the River Ganges, from Oriental Scenery, etching and aquatint with full hand-colouring, an excellent impression on thick Whatman wove paper without watermark date, platemark 485 x 655 mm (18 7/8 x 24 3/4 in), sheet 530 x 710 mm (20 7/8 x 28 in), slightly trimmed margins, minor surface dirt, unframed, [Abbey 420, no. 22], Robert Bowyer, 1796; together with Chevalpettore, etching and aquatint with full hand-colouring, an excellent impression on thick Whatman wove paper without watermark date, platemark 490 x 655 mm (18 7/8 x 24 3/4 in), good margins, minor surface dirt and handling creases, slightly rough edges, unframed, [Abbey 420, no. 131], published by the artist, 1804 (2)Provenance:From the Collection of the Late W.G. and Mildred Archer; thence by descent.Literature:Archer, Mildred, Early Views of India, The Picturesque Journeys of Thomas and William Daniell 1786-1794, 1980, pl. 26 and 119.
Gillray (James) Temperance enjoying a frugal meal, etching and stipple-engraving with original hand-colouring, on wove paper without watermark, sheet 362 x 266 mm (14 1/4 x 10 1/2 in), trimmed to or just within the platemark, minor spotting and surface dirt, unframed, published by Hannah Humphrey, 1792Literature:BM Satires 8117⁂ Satire on the supposed miserliness of the King and Queen, which was a favourite subject of caricature; the frugality of the King's meals was well known.
Daniell (Thomas) and William Daniell. The Rope Bridge at Sirinagur, from Oriental Scenery, etching and aquatint with full hand-colouring, an excellent impression on Whatman wove paper without watermark date, platemark 490 x 650 mm (19 1/4 x 25 1/2 in), sheet 530 x 705 mm (20 7/8 x 27 3/4 in), minor surface dirt, unframed, [Abbey 420, no. 149], published by the artist, 1805.Provenance:From the Collection of the Late W.G. and Mildred Archer; thence by descent.Literature:Archer, Mildred, Early Views of India, The Picturesque Journeys of Thomas and William Daniell 1786-1794, 1980, no. 54.
Daniell (Thomas) and William Daniell. Exterior of an Eed-Gah near Chaynpore, Bahar, from Oriental Scenery, etching and aquatint with full hand-colouring, an excellent impression on thick Whatman wove paper with watermark date of '1806', platemark 485 x 650 mm (19 1/8 x 25 5/8 in), sheet 540 x 725 mm (21 1/4 x 28 1/2 in), minor handling creases and small nicks to edges, minor surface dirt, unframed, [Abbey 420, no. 66], published by the artist, 1808 Provenance:From the Collection of the Late W.G. and Mildred Archer; thence by descent.Literature:Archer, Mildred, Early Views of India, The Picturesque Journeys of Thomas and William Daniell 1786-1794, 1980, pl. 78.⁂ 23rd January 1790. 'A place designed for the performance of solemn festivals by the professors of the Mahomedan religion [and that the] the general forms [of the exterior of the old fort] are uncommon, as well as the embellishments, which nevertheless are extremely rich and not inelegant'. [Archer, op. cit.]
Gillray (James) The first kiss this ten years! - or - the meeting of Britannia & Citizen François, etching and aquatint with original hand-colouring, on wove paper without watermark, sheet 353 x 254 mm (13 7/8 x 10 in), trimmed to or just within the platemark, sympathetically remargined, minor toning, unframed, Hannah Humphrey, 1803Literature:BM Satires 9960⁂ Satire on Anglo-French relations with a fat good-natured Britannia receiving a big kiss from a lean French military officer, with oval bust portraits of Napoleon and George III above.
Daniell (Thomas) and William Daniell. Mausoleum of Nawaub Assoph Khan, Rajemahel, from Oriental Scenery, etching and aquatint with full hand-colouring, an excellent impression on thick Whatman wove paper with watermark date of '1801', platemark 485 x 650 mm (19 1/8 x 25 5/8 in), sheet 535 x 720 mm (21 x 28 1/4 in), small scuff and brown spot within title in the centre, minor surface dirt, unframed, [Abbey 420, no. 24], published by the artist, 1803 Provenance:From the Collection of the Late W.G. and Mildred Archer; thence by descent.Literature:Archer, Mildred, Early Views of India, The Picturesque Journeys of Thomas and William Daniell 1786-1794, 1980, pl. 19.⁂ 9th October 1788. 'Went to Rajimal in our Palanquins where we met the Pinnace - passed thro' the Caravanserai that Hodges has made an Aquatinta print of - walked about the Ruins of Rajimal & saw many very Picturesque Views indeed... Saw many Alligators of a very large kind in the River'. [Archer, op. cit.]
Gillray (James) The Union-Club, etching with hand-colouring, on wove paper without watermark, platemark 300 x 435 mm (11 3/4 x 17 in), sheet 310 x 452 mm (12 1/4 x 17 3/4 in), small margins, tiny marginal repair to the lower centre, minor surface dirt, handling creases, unframed, [BM Satires 9699], Hannah Humphrey, 1801⁂ A wildly debauched scene of excitably drunken, slumbering, unconscious figures in the foreground, including Fox, the Prince, Moira, Sheridan and others, in contrast to the violent brawling in the background, many figures wearing shamrocks, the clock on the wall bearing the maker's name of W. Pitt,
Daniell (Thomas) and William Daniell. An Hindoo Temple, at Deo, in Bahar, from Antiquities of India, etching and aquatint with full hand-colouring, an excellent impression on thick Whatman wove paper with watermark date '1794', platemark 485 x 655 mm (19 x 25 3/4 in), sheet 540 x 720 mm (21 1/4 x 28 1/4 in), minor surface dirt, unframed, [Abbey 420], published by the artist, 1800.Provenance:From the Collection of the Late W.G. and Mildred Archer; thence by descent.Literature:Archer, Mildred, Early Views of India, The Picturesque Journeys of Thomas and William Daniell 1786-1794, 1980, no. 84
Gillray (James) Hero's recruiting at Kelsey's; - or - Guard-Day at St. James's, etching with bright contemporary hand-colouring, on wove paper without watermark, sheet 365 x 260 mm (14 3/8 x 10 1/4 in), trimmed to or just within the platemark but outside the borderline, faint vertical crease running parallel to the right edge, other minor handling creases, unframed, [BM 9068], Hannah Humphrey, 1797.
Gillray (James) Anti-saccharrites, -or- John Bull and his Family leaving off the use of Sugar, etching with hand-colouring, on wove paper without watermark, sheet 315 x 400 mm (12 3/8 x 15 3/4 in), trimmed to or just within the platemark, two carefully repaired tears to the lower edge, handling creases, minor surface dirt, unframed, [BM Satires 8074], Hannah Humphrey, 1792.
Daniell (Thomas) Part of the City of Patna, on the River Ganges, from Oriental Scenery, etching and aquatint with full hand-colouring, an excellent impression on thick Whatman wove paper with watermark date of '1794', platemark 490 x 650 mm (19 1/4 x 25 5/8 in), sheet 515 x 700 mm (20 1/4 x 27 1/2 in), minor surface dirt, a few small spots, unframed, [Abbey 420, no. 21], published by the artist, 1795Provenance:From the Collection of the Late W.G. and Mildred Archer; thence by descent.Literature:Archer, Mildred, Early Views of India, The Picturesque Journeys of Thomas and William Daniell 1786-1794, 1980, nos. 21⁂ 8 November 1788. 'The large and populous City of Patna is in the province of Bahar. The gauts, or steps leading up from the river, are very numerous here, and are intended for the advantage of merchandise, as well as the convenience of merchandise, as well as the convenience of the Hindoos, whose religious duties oblige them frequently to perform ablutions in the sacred river Ganges' [Archer, op. cit.]
Daniell (Thomas) The Great Pagoda, Tanjore, from Oriental Scenery, etching and aquatint with full hand-colouring, an excellent impression on thick Whatman wove paper with watermark date of '1794', platemark 485 x 655 mm (19 x 25 3/4 in), sheet 535 x 740 mm (21 7/8 x 29 1/8 in), minor handling creases and small repaired nicks to edges, minor surface dirt, unframed, [Abbey 420, no. 50], published by the artist, 1798.Provenance:From the Collection of the Late W.G. and Mildred Archer; thence by descent.Literature:Archer, Mildred, Early Views of India, The Picturesque Journeys of Thomas and William Daniell 1786-1794, 1980, no. 125.⁂ September 1792. 'The Brihadisvara or Rajarajesvara Temple, which stands within a walled compound, was built about AD 1000. The tall pyramidal tower of the main shrine is covered with intricate sculpture and is topped by a massive domical capstone. [Archer, op. cit.]
Gillray (James) John-Bull and the Sinking-Fund _ P(r)etty scheme for Reducing the Taxes - & off the National Debt, etching with original hand-colouring, on wove paper without watermark, sheet 252 x 350 mm (9 7/8 x 13 3/4 in), trimmed to or just within the platemark, expert restoration to loss at lower left corner, minor surface dirt, unframed, [BM Satires 10704], Hannah Humphrey, 1807 ⁂ Satire on the hugely complex and controversial scheme proposed by the Chancellor of the Exchequer, Lord Henry Petty, to bridge the shortfall between normal annual revenue and the cost of war, as he shovels coins from an enormous sack that weighs heavily on a crouching John Bull, showering them down onto ministers eagerly catching them in hats, robes, bags and bowls.
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