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Click here to subscribeAUDUBON, John James (1785-1851)Carolina Parrot (Plate XXVI)Psitacus carolinensisEngraving with etching, aquatint and hand-coloring by Robert Havell (1793-1878), circa 1829, on J. Whatman paper dated 1831, 954 x 628 mm, upper and lower margins renewed, slight damage to blank area upper margin repaired verso, a few tiny spots. Low p.44 (variant 1).Property from a Palm Beach Collection
AUDUBON, John James (1785-1851)Ruby-throated Humming Bird (Plate 47)Trochilus colubrisEngraving with etching, aquatint and hand-coloring by Robert Havell (1793-1878), circa 1828, on J. Whatman Turkey Mill paper dated 1828, 959 x 646 mm sheet, some slight rippling to sheet edge, a few small spots or tiny rustholes. Low p.51 (Variant 1).Property from a Palm Beach Collection
AUDUBON, John James (1785-1851)Rathbone 's Warbler (Plate 65)Sylva rathboniEngraving with etching, aquatint and hand-coloring by Robert Havell (1793-1878), circa 1834, on J Whatman Turkey Mill paper (date trimmed away), 963 x 636 mm sheet, some overall browning and fading, a few spots. Low p.567 (variant 2). Property from the Carmen S. Holeman Trust, Indianapolis, Indiana
AUDUBON, John James (1785-1851)Booby Gannet (Plate CCVII)Sula leucogasterEngraving with etching, aquatint and hand-coloring by Robert Havell (1793-1878), circa 1834, on J. Whatman paper dated 1838, 972 x 651 mm, a few small chips in left margin from binding, a few tiny spots. Low p.104.Property from a Palm Beach Collection
AUDUBON, John James (1785-1851)Common Gull (Plate CCXII)Larus canus Engraving with etching, aquatint and hand-coloring by Robert Havell (1793-1878), circa 1834, on J. Whatman paper dated 1836, 633 x 980 mm sheet, some minor staining and a few small spots, short tear to upper margin neatly repaired verso. Low p.106 (Variant 1).Property from a Palm Beach Collection
AUDUBON, John James (1785-1851)Wood Ibis (Plate CCXVI)Tantalus loculatorEngraving with etching, aquatint and hand-coloring by Robert Havell (1793-1878), circa 1834, on J. Whatman Turkey Mill paper dated 1834, 968 x 644 mm sheet, short tear crossing background repaired verso, short tear lower margin beneath imprint, a few marginal chips repaired verso, some minor marginal browning or toning. Low p.107.Property from a Palm Beach Collection
AUDUBON, John James (1785-1851)White Ibis (Plate CCXXII)Ibis albaEngraving with etching, aquatint and hand-coloring by Robert Havell (1793-1878), circa 1834, on J. Whatman paper dated 1836, 644 x 965 mm sheet, a few tiny marginal chips and a few pale spots. Low p.109.Property from a Palm Beach Collection
AUDUBON, John James (1785-1851)Hooping Crane (Plate CCXXVI)Grus AmericanaEngraving with etching, aquatint and hand-coloring by Robert Havell (1793-1878), circa 1834, on J. Whatman Turkey Mill paper dated 1834, 950 x 634 mm sheet, 3 3/4-in. tear crossing image and a few marginal chips and tears neatly repaired, short closed tear in bird's wing repaired verso, a few margins roughly trimmed, some minor marginal browning or toning. Low p.111 (variant 1).Property from a Palm Beach Collection
AUDUBON, John James (1785-1851)Long-Billed Curlew [Male and Female], (Plate CCXXXI)Numenius americanus Engraving with etching, aquatint and hand-coloring by Robert Havell (1793-1878), circa 1834, on J. Whatman paper dated 1836, 650 x 955 mm sheet, a few short marginal tears repaired verso, a few tiny spots. Low p.112.Property from a Palm Beach Collection
AUDUBON, John James (1785-1851)Black Backed Gull (Plate CCXLI)Larus marinusEngraving with etching, aquatint and hand-coloring by Robert Havell (1793-1878), circa 1835, on J Whatman Turkey Mill paper dated 1834, 974 x 665 mm sheet, some slight toning and wrinkling, a few small marginal holes repaired verso, some minor spotting, matted and framed. Low p.116.
AUDUBON, John James (1785-1851)Florida Cormorant...View, Florida Keys (Plate CCLII)Carbo FloridanusEngraving with etching, aquatint and hand-coloring by Robert Havell (1793-1878), circa 1835, on watermarked paper ("J. Whatm" visible), 635 x 980 overall sheet, plate possibly inlaid to a larger sheet with plate sheet measuring approximately 508 x 680 mm. Low p.119 (variant 1).Property from a Palm Beach Collection
AUDUBON, John James (1785-1851)Purple Heron (Plate CCLVI)Ardea rufescens, Buff.Engraving with etching, aquatint and hand-coloring by Robert Havell (1793-1878), circa 1835, on J. Whatman paper dated 1835, 644 x 950 mm sheet, a few tiny marginal chips, a few light spots, extreme outer margins reinforced verso. Low p.121 (Variant 1).Property from a Palm Beach Collection
AUDUBON, John James (1785-1851)Black-Throated Diver (Plate CCCXLVI) Colymbus arcticus Engraving with etching, aquatint and hand-coloring by Robert Havell (1793-1878), circa 1836, 630 x 958 mm sheet, tipped to board on extreme outer margins, a few tiny tears to outer margin, imprint just shaved, a few small spots, matted showing sheet edge and framed. Low p.151.
AUDUBON, John James (1785-1851)Evening Grosbeak | Spotted Grosbeak (Plate CCCLXXIII) Coccothraustes vespertinus | Pheucticus melanocephalus Engraving with etching, aquatint and hand-coloring by Robert Havell (1793-1878), circa 1837, on J Whatman paper dated 1837, 962 x 640 mm, a few tiny spots, a few small chips to extreme left margin, matted and framed. Low p.160.
AUDUBON, John James (1785-1851)Glossy Ibis (Plate CCCLXXXVII)Ibis falcinellusEngraving with etching, aquatint and hand-coloring by Robert Havell (1793-1878), circa 1837, on J. Whatman paper dated 1837, 649 x 969 mm sheet, some chipping in extreme upper margin from binding, a few spots and very slight toning. Low p.164.Property from a Palm Beach Collection
AUDUBON, John James (1785-1851)Scarlet Ibis (Plate CCCXCVII)Eudocimus ruber Engraving with etching, aquatint and hand-coloring by Robert Havell (1793-1878), circa 1837, on J. Whatman paper dated 1838, 644 x 964 mm sheet, a few tiny chips or tears to extreme outer margin, a few tiny spots. Low p.168.Property from a Palm Beach Collection
Charles Frederick Tunnicliffe OBE RA (1901-1979) The Thatcher, signed lower right, numbered 63/75 lower left, etching, measurements 19.3 x 15.5 cm (PL), frame 40.3 x 39.5 cmIllustrated in Meyrick R. & Heuser, H. 2017, Charles Tunnicliffe Prints: A Catalogue Raisonne, Royal Academy of Arts, London, p.76Provenance: consigned from a significant private collection of wildlife artThe work is an etching on paper, framed under glazing- not examined external to the frame. The sheet appears in good condition- no obvious signs for tears, creasing or losses and the surface appears stable. Full margins are present and the platemark clearly defined. There is some minor cockling to the sheet. The frame is in good condition and has solid joints.
A 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
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![AUDUBON, John James (1785-1851)Long-Billed Curlew [Male and Female], (Plate CCXXXI)Numenius americanus Engraving with etching](https://cdn.globalauctionplatform.com/e1878e4e-bcc2-45b9-abd8-ae6e011505e8/98c73fb1-c9e5-4abc-a381-ae70010009bb/468x382.jpg)
![[ARTIST'S BOOK]. GIACOMETTI, Alberto (1906-1966), illustrator. LELY, Gilbert (1904-1985). La Folie Tristan. Paris: Jean Hughe](https://cdn.globalauctionplatform.com/7b95b38f-1964-4f2b-9c1e-ae6e0113d91b/e8bca347-4c6b-4973-8830-ae70017c92f9/468x382.jpg)
