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Click here to subscribePhilipp RUMPF (1821 - 1896). ''Der Heuschreck''.Circa 21,5 cm x 21 cm die Platte gemessen. Radierung. Rechts unten signiert. Links unten betitelt: ''Der Heuschreck''.Philipp RUMPF (1821 - 1896). ''Der Heuschreck''. ("'The Locust'").Circa 21,5 cm x 21 cm measured from the plate. Etching. Signed lower right. Titled lower left: ''Der Heuschreck''.
Gerhard HOEHME (1920 - 1989). "Die Zeitung" (1963).Circa 60,5 cm x 86 cm das Blatt. Mischtechnik / Aquatinta Radierung / Collage. Rechts unten handsigniert. Links unten nummeriert 18/58, betitelt und datiert.Gerhard HOEHME (1920 - 1989). "Die Zeitung" (1963).Circa 60,5 cm x 86 cm the sheet. Mixed media / aquatint etching / collage. Signed by hand lower right. Numbered 18/58, titled and dated lower left.
A collection of of artwork to include framed acrylic picture of an English Electric Lightning in Flight by Tony Smith (no glass). 55 x 45cm inc frame. A framed original etching of Loch Vennachar by Henry G Walker. 40 x 30cm inc frame. A framed Claude Monet print of Waterlilies. 68 x 57cm inc frame. (3).
An interesting selection of four:A. SIMES (Edgar James Maybery (1887-1964) - 'Isle Ornsay Hotel - Isle of Skye' (Hotel Eilean Larmain), etching, titled and signed in pencil (image size 10 x 15cm)an easel framed double watercolour of exotic birds (frame size 24.5 x 17cm)an early 1950s study of the lighthouse at Cannes and an unframed companion piece, watercolour on card indistinctly signed (image sizes 16 x 24cm)
James Abbott McNeill Whistler (1834-1903) American "Bibi Lalouette" (1959)Etching, 22.5cm by 14.5cm Condition report: Light surface dirt, debris and thunder flies trapped under glass mostly to mount. Slight time staining/yellowing to sheet most notably at the edges. Possible slightly impressed mark towards lower left-hand corner no more than 1cm, possibly by design? Otherwise appears sound. Not examined out of frame.
Herbert Thomas Dicksee (1862-1942)"Suspense"Signed in pencil, etching, 42cm by 66cmProvenance: Frost & Reed Ltd, LondonCondition report: Surface dirt and debris trapped under frame. The underside of the glass very dirty making the condition harder to read. Overall yellowing to sheet, most notable to margins. Small-medium-sized foxing spots, again mostly to margins although not exclusively. Mold/mildew to edges seemingly contained to the mount. Slight shrinkage? to paper along the top edge under the mount. Slight cockle to sheet. There are blind stamps to lower left. Not examined out of the frame.
A collection of etching / Frank Brangwyn related books, including 'Modern Masters of Etching - Frank Brangwyn' (pub 1925, London), 'Frank Brangwyn and His Work' by Walter Shaw-Sparrow, (pub 1910, London), 'A Book of Bridges' by Frank Brangwyn and Walter Shaw-Sparrow, (pub 1920, John Lane The Bodley Head, London), 'Windmills' by Frank Brangwyn and Hayter Preston, (pub 1923, John Lane The Bodley Head, London), together with 'The Rubaiyat of Omar Khayyam', illustrated and decorated by Frank Brangwyn. (5)
Tony Holahan (British, 20th century): 'Autumn Light', countryside landscape view, depicting a large white house surrounded by out-buildings and autumnal trees, watercolour, signed lower right, 13.5 by 29cm, mounted, glazed, and framed, 38.5 by 53.5cm, together with a Lucien Gautier (French, 1850-1924) etching of the interior of an unknown cathedral, with multi-coloured stained glass window, signed lower left margin and in the plate, 26 by 16cm, mounted, glazed and framed, 44.5 by 31.5cm. (2)
John Brunsdon (1933-2014) - The Secret Garden, Sedbury Hall, artist proof etching printed in colours, signed, titled and numbered 6/15 in pencil to the lower margin, visible sheet dimensions 46.5 x 31cmCondition report: Unglazed, but framed and mounted.Frame with damage to top left hand corner.Slight surface rippling to paper.Colours good, strong and original.Surface scuff to immediate paper margin at 12 o’clock, approx. 6x5mm.
Michael Manzavrakos (American, 1951-2014). Etching of a nude woman. Signed in pencil along the lower right; dated March 1996 along the lower center; and inscribed "For Don" along the lower left. Housed in a portfolio with a pencil inscription along the front reading " ~ Open this side ~ If you are old enough."Unframed; height: 17 1/4 in x width 12 1/2 in. Matted; height: 20 in x width: 16 in.
Group of nine prints and etchings including:Henri Meunier (Belgian, 1873-1922). "Le Soir (Ile de Brehaut)" (1909), etching and aquatint printed in color. Signed lower right, titled lower center, artist's cachet lower left.A pair of hand-colored etchings by Ch. Giroux after paintings by Daniel Hernandez Morillo (Peruvian, 1856-1932). "Mes Chats," signed in plate lower left; "Mes Colombes," signed in plate along lower right.Group of two aquatints by Frank Short (British, 1857-1945). "The New Moon," (1918) signed in pencil lower right, and one untitled work signed in pencil along lower right.Mutsumi Morita (Japanese, 20th c.). Woodblock print, signed and dated 1970 in pencil along lower right, editioned 47/55 and titled "No. 2" along lower left.Print of ballerinas. Signed illegibly and titled "Repos" in pencil along the lower left.Ethel Kirkpatrick (British, 1869-1966). Color woodcut titled "Canal Boats" (c. 1920). Signed in pencil along lower right.Marcel Gromaire (French, 1892-1971). Etching titled "Petite tete" (1922), signed and numbered 4/5 in pencil along the lower edge.Sight; height ranges from 7 1/4 in to 18 in x width ranges from 10 3/4 to 18 1/4 in. Matted; height ranges from 16 to 26 1/4 in x width ranges from 20 to 24 in.
Rembrandt van Rijn (1606-1669)Self-Portrait in a Cap and Scarf with the Face DarkEtching, 1633, a good but later impression of New Hollstein's final state (of five), printing with plate tone on sturdy laid paper, platemark 134 x 104 mm (5 1/4 x 4 1/8 in), sheet 146 x 116 mm (5 3/4 x 4 5/8 in), a few small spots, some minor discolouration to sheet visible verso (unframed)Literature:Hind 108; New Hollstein 120 v/v
δ Katherine Bradford (b.1942)Swimmers in Fog Archival pigment print in colours, 2021, signed in pencil, numbered from the edition of 125, published by Exhibition A, New York, on Hahnemühle museum etching paper, with full margins, sheet 915 x 680mm (36 x 26 3/4in) 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)The Descent from the Cross: Second PlateEtching and engraving, 1633, but a later impression of New Hollstein's eighth state (of eight) on sturdy laid paper with "Arches" watermark, a well inked dark impression with Lamoureux's address in the lower right corner, still showing remnants of the coarsely burnished address of Justus Danckerts, platemark 530 x 410 mm (20 3/4 x 16in), sheet 543 x 415 mm (21 3/8 x 16 1/4 in), small margins, lower right margin irregularly trimmed to platemark, faint central horizontal fold, mainly visible verso (unframed)Literature:New Hollstein 119 viii/viii
Rembrandt van Rijn (1606-1669)Joseph and Potiphar's WifeEtching and engraving, 1634, a good but later impression on laid paper without watermark, New Hollstein's final state (of four), platemark 93 x 115 mm (3 5/8 x 4 1/2 in), sheet 100 x 126 mm (3 7/8 x 5 in) (unframed)Literature:New Hollstein 128 iv/iv
δ Damien Hirst (b.1965)I Once Was What You Are You Will Be What I AmEtching, 2006, signed and dedicated 'For Sam ♡' in pencil, on wove paper, with full margins, sheet 483 x 406mm (19 x 16 in)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)Self Portrait with SaskiaEtching, 1636, a good but later impression of New Hollstein's final state (of four), printing with good contrast and slightly inky edges on sturdy laid paper without watermark, platemark 106 x 94 mm (4 1/4 x 3 3/4 in), sheet 120 x 117 mm (4 3/4 x 4 7/8 in), small margins (unframed)Literature:New Hollstein 158 iv/iv
δ David Hockney (b.1937)Cushions (Scottish Arts Council 64)Etching with aquatint, 1968, signed and dated in pencil, numbered from the edition of 75, printed by Maurice Payne, published by Petersburg Press, London, on wove paper, with full margins, sheet 572 x 521mm (22 ¾ x 20 ½ in)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
δ David Hockney (b.1937)Panama Hat (Tokyo 119)Etching with aquatint, 1972, signed and dated in pencil, numbered from the edition of 125, co-published by Brooke Alexander, Inc., New York, and Petersburg Press, London, on Crisbrook handmade paper, the full sheet printed to the edges, sheet 416 x 337mm (18 1/8 x 13 ¼ in)This tableau depicts the hat, coat and pipe of Hockney's friend and former curator of the Metropolitan Museum of Art New York Henry Geldzhalerδ 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)The Return of the Prodigal SonEtching, 1636, a good but later impression of New Hollstein's final state (of three), on laid paper without watermark, platemark 155 x 132 mm (6 1/8 x 5 1/4 in), sheet 166 x 145 mm (6 1/2 x 5 3/4 in), faint vertical crease running down the left side, handling creases, minor spotting (unframed)Literature:NH 159 iii/iii
Rembrandt van Rijn (1606-1669)Self-portrait in a Velvet Cap with PlumeEtching with delicate plate tone, 1638, a good but later impression of New Hollstein's final state (of four), platemark 135 x 105 mm (5 1/4 x 4 1/8 in), sheet 150 x 120 mm (5 7/8 x 4 3/4 in) (unframed)Literature:New Hollstein 170 iii/iv
Rembrandt van Rijn (1606-1669)Joseph Telling his DreamsEtching, 1638, a good but later impression of New Hollstein's final state (of six), printing with plate tone on cream laid paper without watermark, platemark 111 x 83 mm (4 3/8 x 3 1/4 in), sheet 124 x 94 mm (4 3/4 x 3 5/8 in) (unframed)Literature:New Hollstein 167 vi/vi
Rembrandt van Rijn (1606-1669)Three Oriental Figures (Jacob and Laban?)Etching, 1641, a fine bold impression on sturdy laid paper without watermark, New Hollstein's second state (of two) printing with much tone, the dark hatching within the doorway showing little wear, platemark 145 x 112 mm (5 3/4 x 4 1/2 in), sheet 153 x 124 mm (6 x 4 3/4 in) (unframed)Literature:New Hollstein 190 ii/ii
Rembrandt van Rijn (1606-1669)The Angel departing from the family of TobiasEtching, 1641, but a later impression of New Hollstein's final state (of nine), printing boldly with delicate plate tone on laid paper without watermark, platemark 105 x 153 mm (4 1/8 in x 6 in), sheet 112 x 163 mm (4 1/2 x 6 1/2 in) (unframed)Literature:New Hollstein 189 ix/ix
Rembrandt van Rijn (1606-1669)The Raising of Lazarus: the Small PlateEtching with touches of drypoint, 1642, a good impression of New Hollstein's second state (of two) on laid paper without watermark, sheet 155 x 116 mm (6 x 4 1/2 in), thread margins, scraping verso to lower right corner, minor handling creases (unframed)Literature:New Hollstein 206 ii/ii
Rembrandt van Rijn (1606-1669)The Raising of Lazarus: The Larger PlateEtching and engraving, circa 1632, a good but later impression of New Hollstein's final state (of nine), printing with strong contrasts on laid paper with partial text-based watermark, platemark 370 x 260 mm (14 1/2 x 10 1/4 in), sheet 392 x 265 mm (15 1/4 x 10 1/2 in) (unframed)Literature:New Hollstein 113 ix/ix
Rembrandt van Rijn (1606-1669)Abraham Caressing IsaacEtching, circa 1637, but a later impression of New Hollstein's final state (of four), printing with plate tone on laid paper, platemark 117 x 89 mm (4 5/8 x 3 1/2 in), sheet 131 x 101 mm (5 1/4 x 4 in) (unframed)Literature:Hind 148; New Hollstein 165 iv/iv
Rembrandt van Rijn (1606-1669)Self-Portrait in a Flat Cap and Embroidered DressEtching, circa 1642, a later impression of New Hollstein's final state (of three), printing with plate tone on cream laid paper, platemark 94 x 63 mm (3 3/4 x 2 7/8 in), sheet 102 x 71 mm (4 x 2 7/8 in) (unframed)Literature:New Hollstein 210 iii/iii
Rembrandt van Rijn (1606-1669)The Star of the Kings: A Night PieceEtching and drypoint, circa 1651, a very good well inked impression of New Hollstein's second state (of four), with touches of burr on the star-shaped lantern, on laid paper with partial indistinct circular watermark, platemark 91 x 141 mm (3 5/8 x 5 1/2 in), sheet 94 x 143 mm (3 3/4 x 5 5/8 in), minor printers' creases, and some light rubbing (unframed)Literature:Bartsch 113; New Hollstein 263
Rembrandt van Rijn (1606-1669)A Scholar in his Study ('Faust')Etching and drypoint, circa 1652, but a later impression of New Hollstein's sixth state (of seven) on wove paper without watermark, sheet 210 x 160 mm (8 1/4 x 6 1/4 in), very thin archival support verso, trimmed to or just within the plate, several careful repairs to tears and perforations within the sheet, some careful repaired losses with restoration, (unframed)Literature:Hind 260; New Hollstein 270 vi/vii
Rembrandt van Rijn (1606-1669)Abraham and IsaacEtching and drypoint, 1645, but a later impression of New Hollstein's second state (of two), with good contrast and printing darkly, on laid paper without watermark, platemark 158 x 128 mm (6 1/4 x 5 in), sheet 170 x 140 mm (6 3/4 x 5 1/2 in), minor surface dirt, some discolouration verso but not showing through through to recto (unframed)Literature:New Hollstein 224 ii/ii
Rembrandt van Rijn (1606-1669)Self-Portrait etching at a WindowEtching, drypoint and burin, 1648, a later impression of New Hollstein's final state (of nine), printing with plate tone on cream laid paper without watermark, platemark 158 x 131 mm (6 1/4 x 5 1/4 in), sheet 170 x 140 mm (6 3/4 x 5 1/2 in) (unframed)Literature:Hind 229; New Hollstein 240 ix/ix
Rembrandt van Rijn (1606-1669)Clement de Jonghe, PrintsellerEtching and drypoint, 1651, but a later impression of New Hollstein's eighth state (of ten), on laid paper without watermark, platemark 206 x 162 mm (8 1/8 x 6 1/2 in), sheet 215 x 170 mm (8 1/2 x 6 3/4 in), minor marginal nicks, one to lower centre just going into platemark, faint surface dirt and toning to sheet (unframed)Literature:New Hollstein 264 viii/x
Rembrandt van Rijn (1606-1669)David at PrayerEtching with drypoint, 1652, but a later well inked impression of New Hollstein's final state (of three) with the faint scratch on David's cloak, printing with plate tone on cream laid paper without watermark, plate 141 x 91mm (5 5/8 x 3 5/8 in), sheet 155 x 102mm (6 1/8 x 4 in) (unframed)Literature:Hind 258; New Hollstein 268 ii/iii
Rembrandt van Rijn (1606-1669)The Adoration of the Shepherds: With the LampEtching, 1654, a good impression of New Hollstein's final state (of three), printing with plate tone on laid paper without watermark, platemark 105 x 130 mm (4 1/8 x 5 1/8 in), sheet 118 x 143 mm (4 5/8 x 5 3/4 in) (unframed)Literature:New Hollstein 279 iii/iii
Rembrandt van Rijn (1606-1669)The Descent from the Cross by TorchlightEtching and drypoint, 1654, a good but later impression of New Hollstein's fourth state (of four), on laid paper without watermark, platemark 209 x 162 mm (8 1/4 x 6 3/8 in), sheet 222 x 174 mm (8 3/4 x 6 3/4 in), printing with some plate tone (unframed)Literature:New Hollstein 286 iv/iv
Rembrandt van Rijn (1606-1669)Christ at Emmaus: The Larger PlateEtching with drypoint, 1654, a good but later impression of New Hollstein's final state (of five), on laid paper without watermark, platemark 212 x 161 mm (8 3/8 x 6 3/8 in), sheet 225 x 173 mm (8 3/4 x 6 7/8 in) (unframed)Literature:New Hollstein 283 v/v
Bartolomeo Biscaino (1629-1657) The NativityEtching, circa 1650, an excellent impression on fine laid paper with watermark of the letters 'PA' with three leaf flower [probably mid-17th century], published by Daman, sheet 387 x 270 mm (15 1/4 x 10 5/8 in), small repaired tear to centre right with careful repair verso (unframed)Literature:Bartsch 7
Giovanni Antonio Canal, called Canaletto (1697-1768) The house with the inscriptionEtching, circa 1740-1741, etching on cream laid paper without watermark, platemark 297 x 214 mm (11 3/4 x 8 3/8 in), sheet 305 x 215 mm (12 x 8 1/2 in), small marginal nick repaired in the lower edge, another small fine split within the upper left carefully repaired (unframed)Literature:Bromberg 14 ii/ii
Giovanni Antonio Canal, called Canaletto (1697-1768) View of a Town with a Bishop's TombEtching, circa 1735-1746, a good black impression on ivory laid paper without watermark, sheet 298 x 298 mm (11 3/4 x 11 3/4 in), repaired split within the centre right of the image, old handling creases (unframed)Literature:Bromberg 16 ii/ii
Giovanni Battista Piranesi (1720-1788) The Gothic Arch, from 'Carceri d'Invenzioni'Etching, circa 1749, but a later black impression on thick ivory wove paper, without watermark, Hind's final state (of three) with the number '362' on the pillar to centre-right, platemark 412 x 548 mm (16 1/4 x 21 1/2 in), sheet 555 x 690 mm (21 3/4 x 27 1/4 in), central vertical fold with repairs to old splitting, tape support verso, (unframed) Literature: Hind 13 iii/iii
Stefano della Bella (1610-1664)Le Vase de MediciEtching, 1656, a very good delicate impression on laid paper with watermark of grapes, sheet 315 x 274 mm (12 1/4 x 10 3/4 in), trimmed to or just within the platemark, upper right corner with repair to old tear, minor handling creases (unframed)Literature:De Vesme 832 ii/ii
Jusepe de Ribera (1591-1652)Saint Jerome readingEtching, circa 1624, a delicate impression on laid paper without watermark, sheet 190 x 253 mm (7 1/2 x 10 in), trimmed to or just within the platemark some toning to sheet, old handling creases, scattered careful repairs to small losses (unframed)Together with: The Martyrdom of St. BartholomewEtching, 1624, an even impression on cream laid paper with watermark of a fleur-de-lis within a circle, sheet 320 x 235 mm (12 1/2 x 9 1/4 in), faint vertical line of rubbing in upper right corner, some other minor abrasion and surface dirt (unframed) Literature:Bartsch 3; 6
δ Marc Chagall (1887-1985)Le Rêve de L'Âne (see Cramer 63)The original cancelled copper plate for the editioned etching, 1963, published by Gérald Cramer, overall 310 x 240mm (11 ¾ x 9 3/8 in)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
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