* Austin (Robert Sargent, 1895-1973). A Roman Madonna, 1922, etching, a very good, clear impression of the second (final) state, printing with plate tone on fine pale cream laid paper, with an indistinct Letters watermark, published in an edition of 30 impressions, signed and dated in pencil below the platemark, titled in pencil in the lower left sheet corner,with margins, pale mount-staining, plate size 176 x 150 mm (7 x 5.9 ins), sheet size 271 x 211 mm (10 5/8 x 8 3/8 ins), framed and glazed (35 x 33 cm), with William Weston gallery label to verso, dated 1975, and manuscript note stating that the work was remounted on acid free card in 1990QTY: (1)NOTE:Provenance: William Weston Gallery, London, purchased 2 June 1975 (gallery label verso).Dodgson 36, ii/ii.A Roman Madonna, dating from the period of his engraving scholarship at the British School in Rome, was considered by contemporary critics as the peak of Austin's art as an etcher before he turned to engraving as his principal medium.
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AR * Gross (Anthony, 1905-1984). El Muerto del Ultimo Piso (The Dead Man from the Top Floor), 1924, etching on pale cream laid paper, dated 1924 in the image, signed, titled in Spanish, and dated 1926 in pencil, plate size 27.5 x 18cm, sheet size 35.4 x 24.9cm, mounted, framed and glazed, 51.4 x 40.2cmQTY: (1)
AR * Segonzac (André Dunoyer de, 1884-1974). Versailles, le Grand Trianon vu du canal, 1924, etching printed with plate tone on Van Gelder wove paper, an artist’s proof, signed in pencil, inscribed ‘épreuve d’artiste’ and numbered 7/25 (titled in pencil at the bottom of sheet), with the publisher Henri Petiet’s blindstamp (Lugt 2021a) to lower margin, with margins, deckle edge at right, light-stained, pale mount-staining, otherwise in good condition, plate size 180 x 130 mm (7 1/8 x 5 1/8 ins), sheet size 282 x 192 mm (11 1/8 x 7 1/2 ins), framed (43 x 312 cm)QTY: (1)
AR * Drury (Paul, 1903-1988). Evening, 1925, etching on laid paper, a fine, impression of the third (completed) state, before the plate was cancelled in the fourth (final) state, signed, dated and inscribed in pencil 'Paul Drury .25. fec. et imp'., dedicated 'To Robin Tanner', one of ten artist's proofs aside from the edition of 50, with margins, pale mount-staining, delicate pencil ruling lines, a few pinholes towards the upper sheet corners, generally in very good condition, in a conservation mountQTY: (1)NOTE:Garton 16.This proof impression is dedicated by the artist to his fellow student at Goldsmith's College, the printmaker Robin Tanner.
AR * Drury (Paul, 1903-1988). Nicol's Farm, 1925, etching on tissue-thin, fibrous Japan paper with wirelines, a fine, bright and atmospheric impression of Garton's fifth (completed) state, before the plate was cancelled in the sixth (final) state, printing with effective contrasts, signed, dated and inscribed in pencil 'Paul Drury '26 fec. et imp.', further inscribed '4th state No. 26.', with margins, minor residual adhesive at the upper sheet corners, 11.2 x 19.2 cm (4 1/4 x 7 1/2 ins), generallly in very good condition, in a conservation mountQTY: (1)NOTE:Garton 18.
* Larkins (William Martin, 1901-1974). Underwood Street, Whitechapel, circa 1925, etching, a very good impression of the third (final) state, on laid paper, signed in pencil, titled, numbered and inscribed '3rd state Imp. 34. No. 9/25' , with wide margins, platemark 7.4 x 7.8 cm (2 7/8 x 3 1/8 ins),19.8 x 26.6 cm (7 3/4 x 10 1/2 ins) in very good condition, in a conservation mount QTY: (1)
AR * Laurencin (Marie, 1853-1956). L'Éventail Rose, 1927, etching with roulette printed in black, blue and pink, on wove paper, presumably fourth (final) state, signed in pencil and numbered 27/100, with margins, sheet size pale light-staining, the colours slightly attenuated, generally in good condition, platemark 29.7 x 24.8 cm (11 3/4 x 9 3/4 ins), sheet size 49.5 x 38.2 cm (13 1/2 x 19 1/2 ins), mounted, glazed and framed (63 x 50 cm)QTY: (1)NOTE:Literature: Marchesseau 126.
* Pach (Walter, 1883-1958). New York, 1927, etching on cream wove paper, signed and dated in ground, plate size 17.6 x 12.6 cm (6 3/4 x 5 ins), wide margins lightly toned towards edges, pencilled title on verso, sheet size 28 x 22.7 cm (11 x 9 ins)QTY: (1)NOTE:The Metropolitan Museum of Art, New York, have an unillustrated 1927 Walter Pach etching titled New York from "Rum Dock" which is likely the same as this etching. Their etching was produced (according to an inscription) for the art revue Byblis, and we know that this etching did indeed appear in that journal in Spring 1928, simply entitled New York.
AR * Sutherland (Graham, 1903-1980). Hanger Hill, 1927, etching on pale cream laid paper, with indistinct watermark, the full sheet, published by the Twenty-One Gallery, London in an edition of 77 impressions, signed and numbered 71/77 in pencil, a few light spots, overall in very good condition, plate size 140 x 128mm (5 1/2 x 5ins), sheet size 295 x 190 mm (11 5/8 x 7 1/2 ins), glued to backing card along top margin only, framed and glazedQTY: (1)NOTE:Tassi 27.
AR * Tunnicliffe (Charles Frederick, 1901-1979). The White Horse, 1927, etching and drypoint on pale cream wove paper, published by H C Dickins in an edition of 75 impressions, signed and numbered 47/75, plate size 205 x 242 mm (8 x 9 1/2 ins), sheet size 253 x 295 mm (10 x 11 1/2 ins), mounted QTY: (1)NOTE:Meyrick and Heuser, Tunnicliffe Prints, 46.
* Holmes (Kenneth, 1902-1994). Horse Fair at Skipton, etching, signed in pencil to margin, sheet size 29 x 41.5 cm (11 3/8 x 16 3/8 ins), mounted (43 x 46 cm), together with:Rawlinson (William Thomas, 1912-1993). September Afternoon, Illmington, Warwickshire, 1967, woodcut, sheet size 24.7 x 32.3 cm (9 3/4 x 12 3/4 ins), mounted (39.6 x 47 cm), plusLaing (Frank, 1862-1907). Au Bords de Canal Charenton, etching, depicting a canal scene, signed lower right and dated 1892, sheet size 23.4 x 33 cm (9 1/4 x 13 ins), mounted (33.5 x 40 cm), and 10 other etchings and engravings including Three etchings by Charles Laborde, and two engravings by Howard Phipps, signed, etc QTY: (16)
AR * Tunnicliffe (Charles Frederick, 1901-1979). To the Slaughter, 1928, etching, a very good, rich impression printing with selectively wiped tone, on laid paper, from the only edition of 75 impressions, signed in pencil and numbered 70/75, with margins, generally in very good condition, platemark 29 x 21.2 cm (11 1/2 x 8 1/4 ins), sheet size 37.3 x 25 cm (14 5/8 x 24.9 cm)QTY: (1)
* Brammer (Leonard Griffith, 1906-1994). The Seven Sisters (Flaxman Tile Works, Burslem), from Five Towns,1930, etching, a fine, atmospheric impression printing with clarity, on cream wove paper, signed in pencil, a few inky finger's prints mainly verso inherent to production, in good condition, 25.2 x 20.6 cm (9 7/8 x 8 1/8 ins), sheet size 34.7 x 25.4 cm (13 3/4 x 10 ins), in a conservation mountQTY: (1)
* Rushbury (Henry, 1889-1968). Carcere, San Gimignano, 1925, etching with drypoint, a fine, richly inked impression of the fourth (final) state, printing with strong contrasts, signed inn pencil, from the edition of 90, on fine laid paper, with margins, platemark 16.5 x 25 cm (26.5 x 14 1/8 ins), sheet a conservation mount, together with Debtor's Prison, York, 1933, drypoint, a dark, richly inked impression of presumably the fifth (final) state, signed in pencil, from the edition of 80, on fine laid paper, with margins, a deckle edge at the bottom, platemark 16.2 x 28.2 cm, 6 1/4 x 11 ins), sheet size 25.2 x 37.8 cm (9 7/8 x 14 7/8 ins), conservation mountQTY: (2)NOTE:Literature: Rushbury 51 and 73 respectively
* Arms (John Taylor, 1887-1953). Venetian Mirror (The Grand Canal, Venice) from the Italian Series, 1935, etching on JW Whatman laid paper, with margins, a very fine, atmospheric impression of signed and dated in pencil, inscribed 'Edition 100 II' (there was a further edition of 69, and 27 trial proofs), with margins, a deckle edge at left and right, very faint mount staining, in very good condition, platemark16.2 x 35.7 cm (6 3/8 x 14 1/8 ins), sheet size 26 x 46.5 cm (10 1/4 x 18 3/8 ins), framed (46 x 60 cm)QTY: (1)NOTE:With the Royal Society of Painter Etchers and Engravers Gallery, 5a Pall Mall East, London, two headed letters written by the Gallery to the purchaser, Mrs Martin Hood, and further newspaper cuttings regarding the artist, on verso of frame
* Brammer (Leonard Griffith, 1906-1994). Bottle Ovens, Lustre Kiln and old decorative 'Shops', Wedgwood, Etruria, circa 1948, etching, a strong, atmospheric impression printing with a veil of tone, on wove paper, signed in pencil, inscribed '1st state', and further inscribed by a different hand ' in good condition, 25.2 x 20.6 cm (9 7/8 x 8 1/8 ins), sheet size 34.7 x 25.4 cm (13 3/4 x 10 ins), in a conservation mountQTY: (1)
AR * Tanner (Robin, 1904-1988). The Old Road, Elegy for the English Elm I, 1976, etching, a very good, rich, black impression of the third (final) state, signed in pencil, with small margins, in very good, fresh condition, platemark 30.2 x 23.5 cm (11 7/8 x 9 1/4 ins), sheet size 32.8 x 25.5 cm (12 7/8 x 10 ins) QTY: (1)NOTE:Tunnicliffe: Meyrick and Heuser 33.
AR * Trevelyan (Julian, 1910-1988). Oxford (from the Thames Suite), 1969, etching with aquatint and soft ground (scrim wipe) printed in black, purple, and yellow, on thick wove paper, from the edition of 75 impressions printed by Geoffrey Beardsall and Dorothea Wight, and published by London Graphics, signed and titled in pencil, numbered 5/75, in good condition, platemark 35 x 46.6 cm (13 3/4 x 18 1/4 ins), sheet size 56.4 x 66.9 cm (22 1/4 x 26 1/4 ins), framed and glazed (59.5 x 70 cm)QTY: (1)
* Brunsdon (John, 1933-2014). Chesil Beach (Dorset), 1976, colour etching, from the edition of 150 impressions, signed, titled and dated in pencil to lower margin, and numbered 35/150, plate size 44.5 x 59 cm (17 1/2 x 23 1/4 ins), Christie's printed certificate to verso, framed and glazed (59 x 81 cm)QTY: (1)
* Harte (Glynn Boyd, 1948-2003). Parisian Café Table, circa 1980s, lithograph printed in colours, signed in pencil and numbered 103/195, on wove paper with margins; together with Michael Chaplin (1943-), Dolphin Yard, circa 1977, etching with aquatint printed in colours, signed in pencil and numbered 1/200; together with Tessa Beaver (1932-2018) Interior with White Leaved Plant, signed in pencil, titled and numbered 20/150; together with Graham Evernden (1947-), Mill Pond, etching and aquatint printed in colours, signed in pencil, titled and numbered 157/100; all on wove paper with margins, apparently in good condition, unexamined out of the frames, all mounted, framed and glazedQTY: (4)
AR * Frink (Elizabeth, 1930-1993), Agamemnon at the Lion Gate (from Children of the Gods), 1988, etching with aquatint printed in brown, from the edition of 70 impressions published by the artist, printed at Kelpra Studio, London, with their blindstamp, signed, titled and numbered 37/70, in very good fresh condition, platemark 55 x 37 cm (21 5/8 x 14 1/2 ins), sheet size 72.7 x 55.3 cm (28 5/8 x 21 3/4 ins), framed and glazed (80 x 60 cm)QTY: (1)NOTE:Wiseman 154.
* Adesina (Adesoji, 1981-). The Lighthouse, 2016, etching on wove paper, signed, dated and numbered 6/30 in pencil, deckle edge at the bottom, in pristine condition, image size 203 x 230 mm, sheet size 282 x 284 mm, together with Reflections, 2016, etching on wove paper, signed, dated, and numbered 10/30 in pencil, with margins, image size 205 x 227 mm, sheet size 282 x 284 mm, plus The Long Walk, 2015, etching, on wove paper, signed, dated, and numbered 8/30 in pencil, in excellent condition, image size 168 x 298 mm, and Nowhere, 2016, etching on wove paper, signed, dated, and numbered 2/30 in pencil, in excellent condition, image size 204 x 232 mm, sheet 282 x 284 mm, plus The Drill, 2016, etching on wove paper, signed, dated, and numbered 1/30 in pencil, with margins, image size 208 x 227 mm, sheet size 282 by 284 mm, and Bao, 2015, etching on wove paper, signed, dated, and numbered 13/30 in pencil, image size 205 x 227 mm, sheet size 282 x 284 mm, all framed and glazedQTY: (6)NOTE:Provenance: John Martin Gallery, London; Collection of Oliver Hoare (1945-2018).
{Bruce Onobrakpeya. Geb. 1932 in Agbarha Otor (Nigeria). Stellte u.a. in der Tate Modern London, in der Smithsonian Institution Washington und in der Malmö Konsthall aus.} Handsign., 1986 dat., Ortsbez. Lagos, numm. 4/100, bet. "Emeravwe III. Deep Etching (Plastograph)". Pl. 22 x 16,5 cm, Bl. 39 x 26,5 cm
Mutiny on the Bounty. A scarce hand-coloured aquatint etching depicting the famous mutiny on HMS Bounty, 28 April 1789, when Fletcher Christian seized command of the ship from captain William Bligh, the mutineers settling on Tahiti or Pitcairn Island. Engraved by Robert Dodd and published in London by Benjamin Beale Evans, 2 October 1790. Measuring 44.5cm by 58.5cm in antique giltwood frame. Toning & discolouration with some surface wear in placesProvenance: Vendor's family is descended from the Christians of Ewanrigg
Francesco Salvator Fontebasso (1707-1769)The sacrifice of IphigeneiaEtching, circa 1740, an excellent bold impression of the only state, on thick laid paper with indistinct watermark, platemark 285 x 390 mm (11 1/4 x 15 1/4 in), sheet 305 x 410 mm (12 x 16 1/8 in), spotting and minor surface dirt (unframed)Literature:De Vesme 9Provenance:Joseph Marius Agassis (1811-1889) [L. 69] Together with Apollo and Nymphs in a Landscape with a Bust of PanEtching, circa 1744, excellent impression of the only state, on laid paper without watermark, platemark 295 x 390 mm (11 1/2 x 15 1/4 in), sheet 345 x 515 mm (13 1/2 x 20 1/4 in), good margins, some surface dirt and spotting (unframed)
δ Salvador Dalí (1904-1989)Shakespeare, from Much ado about Shakespeare (Field 68-7-A; M&L 267e)Etching in sanguine, 1968, signed in pencil, inscribed 'EA', an artist's proof aside from the edition of 150, published by Jean Schneider, Basel, on BFK Rives paper, with margins, sheet 375 x 280mm (14 3/4 x 11in)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
δ Salvador Dalí (1904-1989)Les Petis Chevaux, from Poèmes de Mao Tse-Tung (Field 67-1-F; M&L 209)Etching with drypoint in colours, 1967, signed in pencil, numbered from the edition of 180, published by Editions Argillet, Paris and Graphik Europa Anstalt, on Arches wove paper, with margins, sheet 380 x 285mm (15 x 11 1/4in)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
δ Salvador Dalí (1904-1989)Couple à cheval, from Hommage à Albrecht Dürer (Field 71-8-K; M&L 491a)Etching with pochoir in colours, 1971, signed in pencil, numbered from the edition of 150, published by Vision Nouvelle, Paris, on BFK Rives wove paper, with full margins, sheet 740 x 552mm (29 1/8 x 21 3/4in)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
δ Salvador Dalí (1904-1989)Le Petit Chevalier (Field 80-3; M&L 335d)Etching with aquatint in colours, 1969, the second state, signed, numbered from the edition of 140, published by Jean Schneider, Basel, on BFK Rives paper, with full margins, sheet 285 x 230mm (11 1/4 x 9in)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Rembrandt van Rijn (1606-1669)A Beggar in a High Cap, Standing and Leaning on a StickEtching, circa 1629, an excellent lifetime impression of New Hollstein's second state (of two; New Hollstein records only three impressions of the first state), on fine cream laid paper with Basel Crosier armorial watermark with initials below [see Hinterding catalogue, variant A.a.b., datable c. 1634-1635], sheet 157 x 121 mm (6 1/4 x 4 3/4 in), thread margins, some small areas of conservation visible, notably a nick to centre left edge with paper thinning verso, spot to lower edge (unframed)Literature:Bartsch 162; New Hollstein 41 ii/ii
δ Joan Miró (1893-1983)Untitled, from La Bague d'Aurore (Dupin 138)Etching with aquatint printed in colours, 1957, signed in pencil, numbered from the edition of 60, printed by Crommelynck et Dutrou, Paris, published by Louis Broder, Paris, on wove paper, with full margins, sheet 377 x 282mm (14 5/8 x 11 1/8 in)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
δ Pablo Picasso (1881-1973)Sculptures et Vase de Fleurs, from La Suite Vollard (Bloch 189; Baer 348)Etching, 1933, signed in pencil, from the edition of 260, printed by Roger Lacourière, Paris, published by by Ambroise Vollard, Paris, 1939, on Montval laid paper, watermarked Vollard, with full margins, sheet 445 x 340mm (17 1/2 x 13 3/8in)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Rembrandt van Rijn (1606-1669)Old beggar woman with a gourdEtching, circa 1629, but a later impression of New Hollstein's second state (of two) on thick cream laid paper, platemark 104 x 46 mm (4 1/8 x 1 7/8 in), sheet 111 x 55 mm (4 3/8 x 2 1/8 in) (unframed)Literature:Bartsch 168; New Hollstein 40 ii/ii
δ Pablo Picasso (1881-1973)Modèle Contemplant un Groupe Sculpté (Bloch 175)Etching, 1933, signed in pencil, the edition was 250, printed by Lacourière, published by Ambroise Vollard, Paris, on Montval laid paper with the Vollard watermark, with full margins, sheet 297 x 367mm (11 3/4 x 14 1/2in) δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Rembrandt van Rijn (1606-1669)Man in a Coat and Fur Cap Leaning Against a BankEtching, circa 1630, a later impression of New Hollstein's final state (of three), printing with plate tone on thick cream laid paper without watermark, platemark 115 x 80 mm (4 1/2 x 3 1/8 in, sheet 123 x 88 mm (4 7/8 x 3 3/8 in), minor spotting and browning (unframed)Literature:Bartsch 151; New Hollstein 48 iii/iii
Rembrandt van Rijn (1606-1669)Beggar man and beggar woman conversingEtching, circa 1630, but a later impression of New Hollstein's final state (of three), printing with light plate tone on thick cream laid paper without watermark, platemark 78 x 66 mm (3 1/16 x 2 5/8 in), sheet 86 x 73 mm (3 3/8 x 2 7/8 in) (unframed)Literature:Bartsch 164; New Hollstein 45 iii/iii
** Rembrandt van Rijn (1606-1669)The Raising of Lazarus: The Larger PlateEtching and engraving, circa 1632, a good detailed impression of New Hollstein's fifth state (of nine) on laid paper with Strasbourg lily watermark and the indistinct initials 'W' [cf. Hinterding's A' a.], the variant additions by Rembrandt printing boldly with some minor signs of wear in the densely hatched areas, but before any later rework, sheet 364 x 255 mm (14 1/2 x 10 1/4 in), trimmed within the platemark to arched border, faint central horizontal fold, minor surface dirt and small nicks to extremities (unframed)Literature:New Hollstein 113 v/ix** This lot has been imported from outside the United Kingdom to be sold at auction under temporary importation, and therefore the buyer must pay the import VAT at a rate of 5%. On proof of export outside the United Kingdom, this duty can be refunded.
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