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Click here to subscribeA group of pictures and prints, to include after Graham Dudley Page, The Moorings Hotel Burnham Overy, signed limited edition colour etching number 7/25 dated 1932, 11cm x 19cm, a figure in rural landscape, watercolour on paper, signed T.E and dated 88, 13cm x 22cm, further watercolours, etc. (a quantity)
[ARTIST'S BOOK]. GIACOMETTI, Alberto (1906-1966), illustrator. LELY, Gilbert (1904-1985). La Folie Tristan. Paris: Jean Hughes, 1959. 12mo (147 mm x 102 mm). Contemporary quarter burgundy morocco gilt, top edge gilt, others uncut (spine sunned, slight rubbing, very slight bubbling to sides); original wrappers bound in. LIMITED EDITION, number 43 of 50 copies SIGNED BY LELY. WITH AN ORIGINAL DOUBLE ETCHING, SIGNED BY GIACOMETTI. on limitation page.
JOAN MIRÓ I FERRÀ (Barcelona, 1893 - Palma de Mallorca, 1983)."Barcelona Series", 1972-1973.Etching, aquatint and carborundum. HC copy, current print run of 50 copies.Work reproduced in the Jacques Dupin Catalogue, p. 229. Ed Daniel Lelong.Watermark of Sala Gaspar on the paper.Signed and justified.Provenance: Private collection Antonio Orzaez (Madrid, 1933-2021).Measurements: 70 x 105 cm.This work belongs to the collection of Antonio Orzaez, who through his work as a photographer personally knew many of the most important artists of the 20th century, such as Joan Miró. This work is the result of the friendship between Orzaez and Joan Miró, which was reflected in letters, invitations to exhibitions and works that Miró personally gave to Orzaez.Joan Miró trained in Barcelona, between the Escola de la Lonja and the Galí Academy. As early as 1918 he held his first exhibition at the Galerías Dalmau in Barcelona. In 1920 he moved to Paris and met Picasso, Raynal, Max Jacob, Tzara and the Dadaists. There, under the influence of the surrealist poets and painters, he gradually matured his style; he tried to transpose surrealist poetry to the visual, based on memory, fantasy and the irrational. From this point onwards his style began to evolve, leading him to more ethereal works in which organic forms and figures were reduced to abstract dots, lines and patches of colour. In 1924 he signed the first Surrealist manifesto, although the evolution of his work, which is too complex, makes it impossible to ascribe him to any particular orthodoxy. His third exhibition in Paris in 1928 was his first great triumph: the Museum of Modern Art in New York acquired two of his works. He returned to Spain in 1941, and that same year the museum devoted a retrospective to him which was to be his definitive international consecration. During the 1950s he experimented with other artistic media, such as engraving, lithography and ceramics. From 1956 until his death in 1983, he lived in Palma de Mallorca in a sort of internal exile, while his international fame grew. Throughout his life he received numerous awards, such as the Grand Prizes at the Venice Biennale in 1954 and the Guggenheim Foundation in 1959, the Carnegie Prize for Painting in 1966, the Gold Medals of the Generalitat de Catalunya (1978) and of the Fine Arts (1980), and was named Doctor Honoris Causa by the universities of Harvard and Barcelona. His work can currently be seen at the Joan Miró Foundation in Barcelona, inaugurated in 1975, as well as in major contemporary art museums around the world, such as the Thyssen-Bornemisza, the MoMA in New York, the Reina Sofía Museum in Madrid, the National Gallery in Washington, the MNAM in Paris and the Albright-Knox Art Gallery in Buffalo.
JAMES ROSENQUIST (United States, 1933)."Spring Cheer (2nd state)", 1978.Etching, issue 6/78.Aripeka Ltd. Editions publisher, Charles Levine printer.Signed, dated, titled and justified by hand.Measurements: 44.5 x 91 cm (print); 58 x 101 cm (paper).Work catalogued in "Time dust James Rosenquist, Complete Graphics: 1962-1992", by Constante W. Glenn, no. 129A (Rizzoli, 1993).An exponent of American Pop Art, Rosenquist moved to New York in 1955 to join the Art Students League. However, he left school a year later and began painting billboards. In 1960, however, he quit this job and rented a small studio in Manhattan, where his neighbours included artists such as Robert Indiana, Ellsworth Kelly and Jack Youngerman. Two years later he held his first solo exhibition at the Green Gallery in New York. From then on his work would be included in the groundbreaking exhibitions that would establish Pop Art as a movement. In 1965 Rosenquist achieved international recognition with his monumental work "F-111" (MoMA), in which he combined painting with a collage of prints, drawings and other elements. Since the 1960s the artist has received numerous awards: he was chosen as a Young Talent in the Arts in America in 1963, honoured by the National Council on the Arts in 1978, and in 1987 he was made a Fellow of the American Academy and Institute of Arts and Letters. In 1972 the first retrospective exhibition of his work was held at the Whitney Museum of American Art and the Wallraf-Richartz Museum in Cologne, and since then he has been the subject of numerous exhibitions held in museums and galleries around the world. He is currently represented at the Metropolitan Museum, MoMA, the Brooklyn and Whitney Museums in New York, the Tate Gallery in London, the Guggenheim Museums in New York and Bilbao, the National Gallery in Washington D.C., the San Francisco Museum of Modern Art, the Albright-Knox Gallery in Buffalo, the Museum of Modern and Contemporary Art in Trento, the Thyssen-Bornemisza in Madrid and many others.
Marino Marini (Italian 1901-1980) In Equilibrio, signed lower right, numbered 75/75, etching and aquatint, 54 x 42 cm (PL), frame 82 x 62 cmThe artwork is a work on paper, framed under glazing, not examined external to the frame. The full sheet is present, with no obvious evidence for losses, tears or creasing, full margins are present and the platemark clearly defined and visible. There is evidence of general ageing to the paper (yellowing) and there is foxing to the margins as well as a group of faint foxing spots to the back end of the horse. The colours are well preserved and appear stable. The frame has wear and tear, the piece would benefit from re-framing and mounting.
Sir Anish Kapoor CBE RA (British-Indian b.1954) Untitled, polymer gravure type etching, signed lower right, dated 2014, numbered 55/150, measurements 32 x 38 cm (SH), frame 44 x 50 cm. Artist label versoCondition report: The etching is a work on paper, framed under glazing, not examined external to the frame. The work has a clearly defined platemark and full margins, being numbered in pencil lower left and signed in pencil lower right. The sheet appears in good condition with no obvious evidence for tears, losses or creasing and the surface appears stable. The colours are well preserved and appear stable. The frame has solid joints, some wear and tear in evidence.
Arthur Knighton-Hammond (1875-1970) The Arts Club, Dover Street, London, signed lower right, Artist Proof 1, etching, measurements 15 x 19 cm (PL), frame 38 x 42 cm Arthur Knighton-Hammond was a member of the Arts Club in Dover Street and regularly attended throughout the 1930s with his fellow artists. This etching shows the interior of the club with its members socialising
* TOM MACKENZIE (SCOTTISH 1947 - 2018), HOAN ISLAND coloured etching on paper, signed, titled and numbered 15/75 image size 30cm x 45cm, overall size 49cm x 62cm Mounted, framed and under glass. Note: Tom MacKenzie was educated at Portree High School and at 17 left home to enrol at Duncan of Jordanstone School of Art in Dundee. This did not work out and after a year he went to London. His pursuit of art continued at evening classes in life drawing while working in a variety of jobs by day. In 1976 he moved back to Scotland, joining a team of many talents at the Glasgow Print Studio. John Taylor, a colleague and long-time friend, says: "Tom MacKenzie’s art was made from the Isle of Skye’s unique cornucopia of visual riches: the huge, notched and jagged coastline; sea lochs with many rocky islands; the Cuillins, the most awesome mountains in Britain." Living and working on the lovely Isle of Skye, Tom MacKenzie was renowned for his wonderful colour etchings of the island and the West Coast of Scotland. These large and very stylish etchings are appreciated and collected worldwide. Working from his studio and workshop in Portree, the island’s capital, MacKenzie used three steel plates to produce his etchings and limited the editions to 75 or less, printed on 300gm, Arches waterleaf paper. He was a very popular figure in Portree where he lived and worked and a much-respected artist throughout Scotland and far beyond. During 2021 we accepted a private collection of fifteen Tom MacKenzie etchings which were split between several auctions. New UK auction records were achieved with several individual etchings selling for in excess of £300 each and the highest price and current UK record price was achieved on 23rd January 2022 when lot 224 "Loch Hasco, Quirange" a 20 x 27.5cm etching sold for £410 (hammer).
Offizierssäbel, wohl Bayern, Kaiserreich, um 1910, Klinge mit Herstellermarke Z unter Krone, Messing, schwach gekrümmte Damastklinge, graviert mit Ätzung 'In Treue fest', mit Portepee, Scheide besch., L. ca. 103 cmOfficer's sabre, probably Bavaria, Empire, around 1910, blade with maker's mark Z under crown, brass, slightly curved Damascus blade, engraved with etching 'In Treue fest', with portepee, scabbard damaged, L. approx. 103 cm
JAMES ALPHEGE BREWER (1881-1946); etching, 'Liverpool Cathedral (The Lady Chapel)', signed in pencil and with Fine Art Trade Guild blind stamp, 40.5 x 22cm, framed and glazed.Additional InformationThe mount with specks of dirt and marks and some damp marks throughout. The frame with scuffs and scratches.
FRED W GOOLDEN (fl. 1908-1918); etching, 'The Reference Library', signed lower right, with two Thomas Agnew & Sons labels verso, 52 x 45.5cm, framed and glazed.Additional InformationA couple of slight foxing marks and some light toning to the paper at the edges. Frame with some light scuffs.
HENRY MACBETH RAEBURN (1860-1947); 'Eton College From The River', signed and titled in pencil, 18 x 36cm, framed and glazed.Additional InformationEtching with light age wear, browning/toning to the paper throughout. The mount with some slight watermarks to the bottom left corner. The frame with wear to all corners and general scuffs.
Erotica - Curiosa - Art Déco - Chimot - - Charles Baudelaire. Le Spleen de Paris. Mit 52 Radierungen in 5 bzw. 7 Druckzuständen und einer Originalzeichnung. Petits poèmes en prose. Paris, Éditions de l'Intermédiaire du bibliophile 1926. 1 Bl. 221 S., 1 Bl. 4° Lose Lagen in OUmschlag und Schuber. Eins von 25 Exemplaren der Vorzugsausgabe auf Japon Ancien mit Lateinischen Buchstaben mit 7 Druckzuständen des Frontispiz und 5 Druckzuständen der restlichen Tafeln, sowie dem Faksimile der Unterschrift und der Radierung von Baudelaire. - Wohlerhalten teils unaufgeschnitten. With 52 etchings in 5 or 7 states of printing and one original drawing. Loose layers in OUmschlag and slipcase. One of 25 copies of the preferred edition on Japon Ancien with Latin letters with 7 states of printing of the frontispiece and 5 states of printing of the remaining plates, as well as the facsimile of Baudelaire's signature and etching. - Well preserved partly uncut.
Laurens, Henri - - Tristan Tzara. Entre-Temps. Mit 1 Original-Radierung u. 4 Tafeln von Henri Laurens. Paris, Point du jour, 1946. Gr.-8°. 49 S., 3, 2 w. Bll. OBroschur (etwas gebräunt). Skira 196. - Völker 22. - Unnumeriertes Exemplar der Auflage (GA 356). Erste Ausgabe. - Die Radierung u. erste Bll. papierbedingt stärker gebräunt. Insgesamt noch schönes Exemplar. First edition. With 1 original etching and 4 plates by Henri Laurens. Original paperback (somewhat browned). Unnumbered copy of the edition (GA 356). - The etching and the first few pages more browned due to the paper. Overall still a fine copy.
Wolf Vostell u.a. Set aus 4 Bildhauer-Graphikkalendern. Mit den Jahren 1986, 87, 88 und 89. Mit Radierung, Aquatinta, Kaltnadel u. Holzschnitt, je auf schwerem Römerturm/ Zerkall. Blattmaße von 52 x 38 cm bis 75 x 54 cm. Je signiert, viele datiert und betitelt, einige nummeriert. Je vollständige Kalenderblätter, je m. Spiralbindung und Prägedruck m. Kalenderangaben. - Wenige Bll. mit leichten Braunflecken, mehrheitlich im weißen Rand. Deckeltitel teils etwas gebrauchsspurig. Insgesamt wohlerhalten. Mit Arbeiten von - Wolf Vostell - Willibrord Haas - Manfred Fischer - Waldemar Otto - Günther Ohlwein u. A.. Set of 4 graphic calendars. With complete calendar pages, each with spiral binding and relief printing with calendar details. With etching, aquatint, drypoint a. woodcut, each on heavy Zerkall. Each signed, many dated and titled, some numbered. - Few sheets with light brown spots, predominantly in the white rim. Cover title partly a little bit worn. Altogether in good condition. - With works from artists among others as listed above.
Picasso, Pablo - - Robert J. Godet. L'âge de soleil. Mit einer Heliogravüre von Pablo Picasso (Negativdruck der Radierung "Pour Roby"). Paris, aux dépens de l'auteur 1950. 1 S., 78 S., 1 S. Lwd. mit schwarzem RSchild (OUmschlag miteingebunden). Bloch 680, Cramer 57. - Auf dem Vortitel mit einer kleinen Zeichnung und Widmung von Robert J. Godet. Eins von 1000 Exemplaren. Die schöne Heliogravüre zeigt Picassos Geliebte Françoise und die Mutter seiner Kinder Paloma und Claude. - Papierbedingt etwas gebräunt, sonst gutes Exemplar. With a heliogravure by Pablo Picasso (negative print of the etching "Pour Roby"). On the pre-title with a small drawing and dedication by Robert J. Godet. One of 1000 copies. The beautiful heliogravure shows Picasso's mistress Françoise and the mother of his children Paloma and Claude. - Paper somewhat browned, otherwise good copy.
Mann, Thomas - - Heinrich Heuser. Original Radierung mit Portrait Thomas Manns auf Bütten. 1922. Unterhalb von Thomas Mann und dem Künstler eigenhändig signiert. Ca. 21,5 x 15,5 cm (30 x 24 cm). Am oberen Blattrand punktuell unter Passepartout montiert. Eins von 50 nummer. Exemplaren. - Heinrich Heuser (Stralsund 1887 - 1967 Berlin) studierte Malerei in München, war Meisterschüler von Fritz Mackensen in Weimar, schloss sich 1912 der Berliner Sezession an, war 1919 Gründungsmitglied der Darmstädter Sezession, Mitglied im Deutschen Künstlerbund Weimar, in der Rheinischen Sezession und im Ausstellungsverein Pommerscher Künstler Stettin. - Stellenw. etwas stockfleckig, verso (stärker) und im Passepartoutausschnitt gebräunt, im rechten Rand etwas lichtrandig. One of 50 numbered copies. Original etching with portrait of Thomas Mann on laid paper. Signed below by Thomas Mann and the artist. Punctually mounted under passepartout at upper margin. - Heinrich Heuser (Stralsund 1887 - 1967 Berlin) studied painting in Munich, was a master pupil of Fritz Mackensen in Weimar, joined the Berlin Secession in 1912, and was a founding member of the Darmstadt Secession in 1919. - Somewhat foxed in places, verso (stronger) and in the passe-partout browned, right margin somewhat lightstained.
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