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Lot 255
Group of nine miscellaneous etchings on paper including:Three prints by Emily Anne Page. One titled "Lizards and their Suns," depicting two lizards against an abstract background; pencil signed along the lower right; numbered 3/6 along the lower center; titled along the lower left. One depicting two seated figures; pencil signed along the lower right; numbered 1/2 along the lower center; inscribed "Aquatint" along the lower right. One depicting a nude female figure; pencil signed along the lower right; inscribed "Woodcut" along the lower left.One print depicting a running female figure; pencil signed illegibly along the lower right; titled illegibly along the lower left.One print after Jean-Francois Millet's "The Sheepfold, Moonlight" (1856-1860), engraved by Benjamin Damman. Signed in plate along the lower right.One print by Henry G. Walker (English, 1876-1932) titled "York (High Petergate)" depicting a city street. Pencil signed along the lower right; titled along the lower left.One work after Joseph M.W. Turner (English, 1775-1851) depicting "Inverary Pier" depicting a view of Scotland.One work after Richard C. Bishop titled "Mississippi Mallards" depicting ducks in flight. Signed in plate along the lower right and titled along the lower left.One reproduction print of an etching depicting Wells College in Aurora, New York.Height ranges from 8 1/2 in to 16 in; width ranges from 9 1/4 in to 17 1/2 in.Condition: All sheets are toned. There is wear, signs of handling marks, and soiling to all. One print depicting a running figure has tape affixed along all corners and has a large loss along the upper left edge. Two works by Emily Anne Page (one depicting a nude woman and one depicting two seated figures) are taped along all four edges to a matboard.
Lot 197
Rembrandt Harnenszoon Van Rijn (Dutch, 1606-1669). Etching on paper titled "Christ and the Woman of Samaria" depicting the biblical passage John 4:5-30 in which Christ interacts with a Samaritan woman. Signed in plate just above the lip of the well along Christ's torso. Fourth state printing in which Christ's face has been slightly reworked.Literature: Hollstein, B.70 III, pgs. 36 (text), 57 (plate); New Hollstein, plate 302 IV, pgs. 281 (text), 181 (plate).Provenance: Sotheby's, New York, July 10th, 1978; Private collection, Minnesota.Unframed; height: 5 in x width: 6 in. Framed; height: 18 in x width: 20 in.Condition: The print is free from tears, losses, major creases, or apparent restorations. There is a slight undulation to the sheet. The sheet is slightly toned. Some wear to the verso that does not affect the recto. Some pencil inscriptions along the verso. The sheet is hinged along the top right and left margin. Framed under glass; some wear to the frame including some minor losses and separation of the joints.
Lot 47
KATHE KOLLWITZ (GERMAN, 1867-1945)Beim Dengeln signed in pencil 'Kathe Kollwitz' (in lower margin) etching 29 x 29cm (unframed)Condition reportImage itself looks largely ok, although there are some minor pale marks/spots in places upon close inspection.Foxing to margin and sheet.Stains, creases, tears and losses to wider sheet and edges.Old piece of sellotape to lower sheet.Please see images online.
Lot 26
WALTER SICKERT (BRITISH, 1860-1942)Barnett’s Veterans (They Also Serve) signed in pencil 'Sickert' (in lower margin) etching 13.5 x 21cm Provenance: The Estate of the late Professor Jonathan & Mrs Deanna Brostoff, https://www.bellmans.co.uk/story/the-collection-of-professor-jonathan-and-mrs-deanna-brostoff
Lot 54
JAMES ABBOT MCNEILL WHISTLER (AMERICAN, 1834-1903)The Pool etching 13.5 x 21.4cm Provenance William Weston Gallery, Albemarle Street, London; Private collection, UKCondition reportNot hand signed. The signature is in the plate.However, it does appear to be very faintly inscribed in lower left margin.Some of the brown/orange marks appear to be on the underside of the glass, mainly to centre left and upper left.However, there is some foxing/marks/small stains in places, including to upper right near mast where there is a brown spot which appears to be on the paper.Some discolouration to paper.Under glass and not examined out of frame.
Lot 41
VERNON HILL (BRITISH, 1887-1972)The Ring signed and titled 'Vernon Hill' (in lower margin) etching 22 x 21cm ARR Provenance The Seymour Stein CollectionCondition reportWhite drip marks in online photo are on glass, not on the work.A little foxing and some small pale brown spots/marks in places, including to centre.Otherwise appears generally good.Under glass and not examined out of frame.
Lot 27
GERALD LESLIE BROCKHURST (BRITISH, 1890-1978)Elizabeth signed in pencil 'GL Brockhurst' (in lower margin) etching 14 x 10.7cm ARR Provenance: The Estate of the late Professor Jonathan & Mrs Deanna Brostoff, https://www.bellmans.co.uk/story/the-collection-of-professor-jonathan-and-mrs-deanna-brostoff
Lot 322
Collection of prints and engravings, including a pair of engravings after Marie Louise A.Boizot (1744-1800) "Madame La Duchesse de Gramont", unframed, 34cm x 37cm (excluding mount), a signed etching depicting the Palazzo da Mosta, Venice, a watercolour river landscape, signed C Lytton and dated 1901, a folio containing prints of contemporary Chinese paintings and a carved wooden picture frame, circa 1900 (6)
Lot 478
Two Kosta 'Seaweed' vases,1960s, each designed by Vicke Lindstrand, of ovoid form with trailing green inclusions, with a relief etching of a fish to the exterior, signed to the base, largest 17cm wide27cm high (2)Condition ReportBoth with some scuffs and marks to the underneath. Some minor scratches occurring.
Lot 7197
Thomas Gray: 'Elegy Written in a Country Churchyard', London, Joseph Cundall/The Etching Club, 1847, unpaginated proofs on India Paper, mounted on heavy cardboard and bound in withcloth strip hinges, circa early 20th Century fine three quarter red crushed levant morocco, bound by James MacDonald Co, Art Bookbinder New York, binding signed verso FFEP "Bound by Macdonald N.Y." at head of page, rest of covers and endpapers marbled, spine gilt in compartments, raised bands, silk head and tail bands, allpage edges gilt, leaves with moderate spotting/foxing throughout. Gray’s Elegy was a great Victorian favourite and reprinted with illustrations many times over the century. (Cundall – see below - published another illustrated edition of the poem in 1855). Gray’s classic text is here printed in sepia, together with 28 illustrations by 8 members of The Etching Club, together on 18 proof plates. The Etching Club was an artists' society founded in London in 1838 by Charles West Cope who did 5 of the 28 illustrations in this volume. The club published illustrated editions of works by authors such as Thomas Gray. It effectively ceased to exist in 1878. In addition to Cope, the other illustrators are Thomas Creswick, Charles Stonhouse, Richard Redgrave, Henry JamesTownsend, John Frederick [‘Fred’] Tayler [sic], John Callcott Horsley and John Bell. All arelisted in Houfe except the last (Bell) who only did one of the illustrations. The book was puttogether for the club by Joseph Cundall who at this time acted as publisher for them, andproduced several desirable volumes including Milton’s ‘L’Allegro’ and Goldsmith’s ‘TheDeserted Village’. Cundall was ‘the publisher with the most devoted concern for book design inmid-nineteenth century England’ [McClean, p. 141]. A very scarce version of Gray's Elegy in a fine binding by one of the most important binderies in the United States
Lot 1637
Robert Strange after Van Dyke, engraving, 'Carolo I Magnae Britanniae Regi', printed by Robbe, visible sheet 63 x 48cm Engraving with etching of Charles I as king. Whole length with long hair, beard, brimmed hat, lace collar, doublet, and breeches, with a sash over right shoulder. Depicted standing with left hand on hip and right resting on a cane, accompanied by a squire and the Marquis of Hamilton, who attends to the King's horse. With a large tree to the right of the figures and a view of a landscape in the background.A print after the famous painting Charles I at the Hunt, or Le Roi à la chasse, by Sir Anthony van Dyck. The original portrait, painted in 1635, depicts Charles I in an informal manner pausing on a hunt dressed in civilian attire. The original portrait can be found in the Louvre, Paris
Lot 100
AFTER HENRI MATISSE, L'Espagnole, aquatint and roulette with etching in colours 1925, engraved by Jacques Villon on Velin D'Arches paper, printers proof, engraved notice 'Grave par Jacques Villon 1925' upper left, lower left 'H. Matisse Pinxt' and lower right ' Jacques Villon Sci', 65cm x 50cm.
Lot 225
After John Crome (1768-1821)"Hall Moor Road, near Hingham"Etching, together with a further etching after Crome depicting a rural landscape with windmill, 19cm by 23.5cm and 17.5cm by 25.5cm respectively (2)Hall Moor Road as left by Crome and published by Mrs CromeProvenance: William Weston Gallery Ltd., LondonDear Mr Raine, Please see below the condition report for Lot 225, the last of your requests. Id anything is unclear or you have any further questions then please do give me a call and I'd be happy to discuss with you.Hall Moor Road - Large tear to upper left corner with a section of the paper missing. Approx 1cm across by 3cm high. Heavy yellowing and time staining to sheet. Sporadic small to medium sized foxing spots. The odd handling mark. Not examined out of the frame. Second example - Time staining and general fading to sheet overall. Cluster of foxing spots to lower right corner, approx 1cm by 3cm patch. Dirt and debris trapped under glass. Crease from bottom of sheet centre left lower edge extending into the sheet towards base of tree, approx. 3cm. Not examined out of the frame. Kind regardsGuy
Lot 226
After John Crome (1768-1821)"Landscape with a Wooden Bridge""Farm Buildings by a Pool"Etching, together with three further etchings after Crome, "At Woodrising", "Rustic Road with Thatched Barn", "At Scoutton", 17cm by 20.5cm and 20.5cm by 21.5cm (five executed on two sheets)Provenance: William Weston Gallery Ltd., London
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78391 item(s)/page