Hind (Arthur M.). The Etchings Of D. Y. Cameron, 1st edition, London: Halton And Truscott Smith, 1924, numerous monochrome illustrations & plates with tissue paper guards, some light offsetting, top edge gilt, original gilt decorated black cloth, large 8vo, together with:Garton (Robin), The Catalogue Raisonné of the Prints of Paul Drury, 1903-1987, 1st edition, London: Garton & Co., 1992, numerous monochrome illustrations, original cloth in dust jacket, 8vo, plusCampbell (Colin), William Nicholson, The Graphic Work, 1st edition, London: Barrie & Jenkins, 1992, numerous colour & monochrome illustrations, original cloth in dust jacket, 4to, andGaron (Robin), British Printmakers 1855-1955, A century of printmaking from the Etching Revival to St Ives, 1st edition, London: Garton & Co., 1992, numerous monochrome illustrations, original cloth in dust jacket, large 4to, plus other British print reference & related, some original cloth in dust jackets, some paperbacks & auction catalogues, G/VG, 8vo/4toQTY: (3 shelves )
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The Fine Art Society. Catalogue of the Etched Work of Frank Brangwyn..., 1st edition, London, 1912, numerous monochrome illustrations, some light toning, original brown cloth with morocco spine label, slight rubbed, folio, includes an order form for The Etchings of Frank Brangwyn A Catalogue Raisonné, by William Gaunt, together with:Herkomer (Hubert), Etching and Mezzotint Engraving, Lectures Delivered at Oxford, 1st edition, London: Macmillan and Co., 1892, 13 monochrome etchings by the author, some spotting & toning, original white cloth, boards & spines toned & marked, large 8vo, plusO'Connor (John), Knipton, a Leicestershire village, limited edition, Risbury, The Whittington Press, 1996, signed by the author to the limitation page, 35 colour wood engravings, original cloth in slipcase, folio, 151/200, andSalaman (Malcolm C.), The Woodcut of To-Day At Home and Abroad, 1st edition, London: The Studio Ltd., 1927, colour &monochrome illustrations, advertisements to the front, some light toning & spotting, original wrappers, spine & rear cover slightly toned, large 8vo, plus other print & miscellaneous art reference, some leather bindings, many original cloth, some in dust jackets, some paperbacks, G/VG, 8vo/folioQTY: (6 shelves )
Robins (W. P.). Etching Craft, A Guide for Students and Collectors, 1st edition, London: The Bookman's Journal & Print Collector, 1922, monochrome illustrations, period inscription by the author to Malcom C. Salman to the the front endpaper, some light spotting, top edge gilt, original quarter vellum, spine slightly toned, large 4to, together with:Tuer (Andrew W.), Bartolozzi And his Works, 2 volumes, limited edition, London: Field & Tuer, circa 1882, period inscription by the author to Mrs Alfred Hunt to the front endpaper, colour & monochrome plates with tissue paper guards, ex-library copy with associated stamps & marks, top edge gilt, original gilt decorated full vellum, boards & spines slight rubbed & marked, large 4to, unnumbered copy of 500, plusKurth (Willi), The Complete Woodcuts of Albrecht Dürer, New York: Arden Book Co., circa 1930s, monochrome illustrations, some light marginal toning, original cloth, spine toned, large 8vo, and other print reference & related, including Lithography And Lithographers, by Joseph & E. Robins Pennell, London: T Fisher Unwin, 1898, folio, mostly original cloth, some in dust jackets, G/VG, 8vo/folioQTY: (5 shelves )
AFTER WILLIAM LIONEL WYLLIE "Thames scene with bridge and figure on barge in foreground", black and white etching, signed in pencil lower left, 25.5 cm x 37.5 cm, together with AFTER WILLIAM LIONEL WYLLIE "Various steam shipping", black and white etching, signed in pencil lower left, 10 cm x 34.5 cm
AFTER FRANK BRANGWYN (1867-1956) "Santa Maria" a study, copper etching on heavy cream woven paper, signed in pencil lower right centre circa 1907, image size 27 cm x 36 cm CONDITION REPORTS The glass is in need of a clean. Frame has surface scratches etc, otherwise there are a couple of small areas of foxing to the image itself, in particular in the top left hand corner. The paper is possibly discoloured but, if so, evenly throughout and the signature is below the mount, not been out of frame - see images for more details. General wear and tear coinducive with age and use
M.E. CASEY "Rural river landscape with flowers in foreground", oil on board, signed lower right, 19 cm x 24 cm, together with AFTER JO BARRY "Golden days", coloured etching, limited edition No'd. 66/150, signed, titled and No'd. to the margin, 10 cm x 10 cm and another by the same hand "Dog Rose", limited edition No'd. 90/150, 13 cm x 12 cm
After C Napier Hemy ARA, before the wind, signed in pencil and inscribed with artists name in the margin, etching. 40 x 55 cm (PL). CONDITION REPORT: This etching has considerable surface dirt and acid staining to the mount around the margin. It is stuck down within the frame and has not been examined out of the frame. There is brown staining throughout. No tears or losses visible from the front.
Hedley Fitton (1859-1929), church interior signed in pencil in the margin lower right, etching. 42 x 29 cm (PL). CONDITION REPORT: This etching has not been examined outside of the frame. There is some acid staining. This is light and only in certain areas where the mount has met the margin of the etching. The paper is raised in some places inline with moisture getting behind the glass. There are no visible tears or losses to the paper.
Roman Grand Tour - two portraits of Pope Pius VI, bust-length, in profile, in the Neoclassical within a Roman fresco: 1) Marco Carloni (1742-1796), Pio. Sexto. P.M./Bonarum. Atrium.Patrono, Rome: [...], 1787; 2) another, Alex Mochetti (1760-1812), Rome: 1790, each a copperplate etching and engraving, 62cm x 44.5cm, (2); Pietro Felix (fl. c. 1782-1807), after Domenico Pronti (1750 - ca. 1815), [The Statue of The River Nile and other Classical marbles in the collection of the Vatican Palace], [probably from 'Il Museo Pio-Clementino Descritto', n.p., Rome: probably Ludovico Mirri Mercante Di Quadri Incontro Il Palazzo Bernini, n.d. ?1782-1807], copper-plate engraving, 62cm x 44.5cm, (1), [3]
Edmund Blampied British, 1886-1966), two horses watering, with attendants, signed in the print and dated ‘1928’ and signed ‘E.Blampied’ and numbered ‘38/100’ in pencil in the margin, etching, 22.5cm 30.8cm (Pl), frame 44cm x 50.5cm Mount and frame very dirty.There is general surface yellowing, particularly noticeable in the marginsThe etching has almost certainly been laid down and there are signs of background discolouraton beginning to come throughThe mount is heavily water stained/foxed
PETER LAMBERT (BRITISH, 20TH/21ST CENTURY) (3)Blue and Yellow Nudessigned, dated, titled and numbered in pencil 'Peter Lambert 2003 5/32' (in lower margin)solar plate etchingeach image 20 x 12.5cmProvenanceFlagstaff Gallery, Victoria Road, DevonportPrivate collection, UKtogether with an etching by Kate Goslett, Untitled, Abstract in blue with figures, signed, dated and numbered in pencil '1985 30/30' (in lower margin), 32.5 x 33.5cm; and an etching by Michelle Morgan, 'Sunflowers', signed, dated, titled, numbered and inscribed in pencil '76 3/5' (in lower margin), arranged as four images, each image each 16 x 21cm(3)
NORMAN STEVENS (BRITISH, 1937-1988) (2)The Egyptian Garden, Biddulph Grangesigned, dated, titled and numbered in pencil 'Norman Stevens 1982 4/75' (in lower margin)etching in colours40 x 50cmARRtogether with a print by another hand, 'Tune Reflection', indistinctly signed, titled and numbered in pencil 'A.P 4/45' (in lower margin), 60 x 68cm(2)
ENGLISH SCHOOL (19TH CENTURY) (5)High level station, Crystal Palace titled (lower right) pencil heightened with white on paper 16 x 31.5cm Together with two further architectural drawings by the same hand (one unframed); Spring, a signed and numbered etching etching by Nasreen Begum; and an etching of a fountain by another hand (5)
German School "Muddied Oafs" football etching, circa 1925,depicting footballers going for goal with the goalkeeper saving the shot, with another footballer in the background in front of the stands, indistinctly signed in pencil lower right, glazed and framed, overall 38 by 30cm.Please be aware all glass will be removed from framed and glazed items prior to posting and may result in delays to shipping your items. (This service is included in the cost of postage and packing). We can also totally remove all framing and mounts upon request to reduce shipping costs. Alternatively lots can be collected in person by prior appointment from NN8 1RT.
Arsenal v Bolton Wanderers match action etching, circa 1935,by an unknown hand, depicting two of the leading inter-war teams, with the goalkeeper catching the ball surrounded by the opposition, mounted, glazed and framed, overall 31 by 43cm.Please be aware all glass will be removed from framed and glazed items prior to posting and may result in delays to shipping your items. (This service is included in the cost of postage and packing). We can also totally remove all framing and mounts upon request to reduce shipping costs. Alternatively lots can be collected in person by prior appointment from NN8 1RT.
Gertrude Hayes (British, 1872-1956) 'New Cricket Field, Inverleith Place', published by W.H. Benyon & Co., Cheltenham, etching, published circa 1900, of a cricket match with town in the background, signed in pencil by the artist on lower margin, glazed and framed, overall 41 by 49cm.Please be aware all glass will be removed from framed and glazed items prior to posting and may result in delays to shipping your items. (This service is included in the cost of postage and packing). We can also totally remove all framing and mounts upon request to reduce shipping costs. Alternatively lots can be collected in person by prior appointment from NN8 1RT.
A selection of books relating to art and antiques, including: The Gentle Art of Faking Furniture, by Herbert Cescinsky; Encyclopaedia of the Arts, by Herbert Read (Ed.); Renoir: My Father, by Jean Renoir; A Short History of Engraving and Etching, by A.M. Hind; and others, contained across two boxes.
ÉMILE GALLÉ (Nancy, France, 1846 - 1904).Art Nouveau vase, ca.1900.In multilayer glass and acid etched with flowers and foliage.Signed on one side.The vase appears to be lowered at the top mouth and has a small manufacturing hairline crack (no breakage).Provenance: Spanish private collection, formed between 1970 and 1995. Measures: 53,5 x 23 x 23 cm.Great vase with organic inspired design, as it was typical of the modernist period and the creations of Émile Gallé. With a conical body seated on a circular base, the glass is worked in different layers, combining textures through acid etching.Émile Gallé began his career working for his father, who owned a glass and ceramics factory, making designs with floral and heraldic motifs. Very interested in botany, he studied it in depth during his youth, alternating with drawing classes. Between 1862 and 1864, at his father's request, he traveled through Italy, England and Germany, becoming interested in the applied arts but also in subjects that he would later reflect in his works, such as music, philosophy and nature. On his return, he settled in Meisenthal, where the glass furnaces of his family were, in order to fully learn the craft of glassmaker. He also traveled to London and Paris to see the collections of their museums. In 1874 he took over his father's factory, and soon achieved great international success, winning awards at international exhibitions and selling works to major collections and museums. Today, pieces made by Émile Gallé can be seen in the Hermitage Museum in St. Petersburg, the Metropolitan Museum in New York, the Orsay Museum in Paris, the Brohan Museum in Berlin and the Victoria & Albert Museum in London, among many others.
MULLER FRÈRES; France, ca. 1910.Art Nouveau vase.Acid-etched cameo glass. Signed "Muller Frères Luneville".Procedure: Private Collection, Spain between 1970-1990.Measurements: 11 x 10 x 6.5 cm.Acid-etched glass vase, composed of two layers of glass, the lower one of an amber tone and the upper one dark brown, almost black in the areas where it retains its full thickness, and almost orange, more translucent, where it has been thinned more. The acid-etched motif depicted is a lake landscape on two planes, which are clearly separated by the lake that runs between them. The difference in thickness (and therefore in tone) has been used to reflect the depth of the space in a naturalistic way.The Muller brothers began working for Gallé, and later established their own glassworks in Luneville. Years later, production moved to Croismare, and the pieces were signed "Muller Croismare". The firm produced mottled glass and acid-etched cameo glass, mainly between 1905 and 1937.Cameo glass has been known since ancient times, although it was revived at the end of the 19th century in France and England. Gallé presented his acid-etched cameo technique at the Paris Exhibition of 1889, with the aim of bringing modernist glass to the public. It was a quicker and cheaper form of decoration than the wheel-engraved cameo, resulting in more affordable, mass-produced but handmade pieces, as no stencils were used and the motif was hand-drawn on each piece. The cameo glass technique consists of blowing a bubble of two or more layers of glass of different colours, which are then cut or removed by acid etching the bottom, thus leaving the motif in relief, in the colour of the top layer of glass.
PAINTINGS AND PRINTS TO INCLUDE A BURNETT PARISIAN SCENE OIL ON CANVAS, approximate size 40cm x 50cm, Clifford Hatts oil on board depicting a still life of items in a child's nursery, initialled bottom right, artists label verso, an etching of Damme in Belgium by Johny De Witte, amateur watercolours, three folios containing prints depicting soldiers in historical uniforms, a Chinese embroidered silk panel etc (Qty)
Informel - - Emil Schumacher. (1912 Hagen/Westf. - 1999 Ibiza). Set aus 3 Arbeiten. 1959. Je Aquatintaradierung auf chamoisfarbenem Vélin. Blattmaße von 13,5 x 10 cm bis 48 x 45,6 cm. Je signiert und nummeriert. 1 Arbeit punktuell unter Passepartout montiert. - Wohlerhalten. Gratige Abzüge. 2 Arbeiten je 1 von 40 Exemplaren, 1 Arbeit eines von 150 Exemplaren. - Mit 2 Arbeiten aus dem Zyklus "Poesie in Schwarz Weiß". - "Das Drama der Radierungen ist das Ur-Drama der Dinge an sich. In dieses mächtig-elementare Geschehen bringt Schuhmacher substilste Mittel ein. Seine Platten sind tief geätzt, mit der Nadel zerkratzt...Schumachers besindere Stärkere liegt darin, daß er eine Summe des Formlosen und Unwesentlichen, des bildnerisch Zufälligen zu ordnen und zu kontrollieren weiß, um aus ihnen ein Objekt ästhetischer Sensation zu formen". (Sam Hunter über den Radierzyklus). Set of 3 wokrs. Each etching on buff vellum. Each signed amd numbered. One work mounted under passepartout. - Good condition. - 1 works each one of 40 copies, 1 work out of 150 copies.
Serge Poliakoff. (1906 Moskau - 1969 Paris). Composition grise. 1963. Farbaquatinta über Radierung auf Arches-Bütten (mit Wasserzeichen). 65 x 49 cm (76 x 55,8 cm). Signiert und nummeriert. - Zart gleichmäßig gebräunt mit leichten Lagerspuren im weißen Rand (Motiv nicht betroffen). Verso mit vereinzelten Braunfleckchen, die Aquatinta etwas durchscheinend. Mit hübschem Plattenrand. Harmonische Komposition. Rivière, XIII. - Ein Exemplar von 50. Colour aquatint over etching on Arches laid paper (with watermark). Signed and numbered. - Delicate evenly browned with slight traces of storage in the white margin (motif not affected). Verso with isolated brown spots, the aquatint somewhat translucent. With nice platemark. Harmonious composition. - One copy of 50.
Amerikanische Moderne - Hard-Edge - - Kenneth Noland. (1924 Ashevill (USA) - 2010 Port Clyde (USA)). Marron. 1990. Farbradierung und Aquatinta auf Guarro-Papier. 37 x 55 cm (40,5 x 59 cm). Monogrammiert und nummeriert. - Sauberer und farbleuchtender Abzug. Mit schönem Schöpfrand. Eines von 50 Exemplaren. - Hg. v. Polígrafa, Barcelona (mit dem Blindstempel). Colour etching and aquatint on guarro paper. Monogrammed and numbered. - Clean and colour luminous print. With beautiful scooped margin. - One of 50 copies. - Published by Polígrafa, Barcelona (with the blind stamp).
Informel Hann Trier (1915 Düsseldorf - 1999 Castiglione)o.T. 1973. Aquatintaradierung auf Papier. 59 x 49 cm (70 x 59 cm). Signiert, datiert und nummeriert. - Blatt gering beschnitten, leichte Lagerspuren. Gerlach-Laxner, G 147. - Eins von 150 Exemplaren. - Erschienen als Jahresgabe der Kestner-Gesellschaft. - Beigegeben: Ders. Lob der Hand. 1959/60. Daraus 4 Aquatintaradierungen mit Vernis-mou auf Papier. Blattmaß je 37,4 x 24 cm. Je signiert und datiert "63". - Gerlach-Laxner, G68. - Enthält Blatt 1, 4, 9 u. 10. - Je eins von 20 (GA 315) Exemplaren. Aquatint etching on paper. Signed, dated and numbered. - Sheet slightly trimmed, light storage traces. - One of 150 copies.
Horst Janssen (1929 - 1995 Hamburg)Sammlung von 3 Arbeiten. 1966-1988. 1 Radierung und 2 Lithographien, je auf Papier. Blattmaße von 37 x 28 bis 63 x 49 cm. Je signiert, zusätzlich in der Platte signiert, datiert und betitelt. - Vereinzelt etw. knickspurig an den Kanten, sonst in ordentlichem Zustand. Enthält: - Edgar Allan Poe, 13.2.1966. - Theodor Fontane. - Langenhorner Jubilate I, 16.2.1988. Set of 3 works. With 1 etching and 2 lithographs, each on paper. Each signed, additional signed, dated and titled in the print. - Partly some traces of use, overall in good condition. - With works as listed above.
* WILL MACLEAN MBE RSA RGI RSE HON D.LITT (SCOTTISH b.1941), THE DEPARTURE coloured etching on paper, titled label verso image size 49cm x 62cm, overall size 55cm x 69cm Mounted, framed and under glass. Handwritten label verso. Note: Will Maclean RSA, Professor of Painting in the University of Dundee, is one of the outstanding Scottish artists of his generation. He was born in Inverness where his father, a former sailor, was harbour master, and he spent his childhood between Inverness and Skye. His art is rooted in his knowledge of the Highlands, the Highland people and their history and in his own early associations with sailors and the sea. These things make it relevant and immediately accessible, yet it remains uncompromisingly modern in its forms and in its concerns.
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71174 item(s)/page