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Click here to subscribeδ Salvador Dalí (1904-1989)Gala assunta (Field 73-18; M&L 580b)Drypoint etching, 1973, signed in pencil, numbered from the edition of 74, printed by Atelier Torrents, published by Ärzte-Sammlerkreis, Weiden, on wove paper, with full margins, sheet 760 x 560mm (30 x 22in) δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
δ Salvador Dalí (1904-1989)Liquid and Gaseous Television, from Imaginations and Objects of the Future (Field 75-11 C; M&L 824a)Etching with lithograph, screenprint and collage in colours, 1975-76, signed in pencil, numbered from the edition of 250, published by Merrill Chase Publishing Association, on Arches wove paper, with full margins, sheet 773 x 560mm (30 1/2 x 22in)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
δ Salvador Dalí (1904-1989)Sainte Anne (Field 65-3; M&L 132a)Etching with aquatint printed in colours, 1965, signed in pencil, numbered from the edition 150, published by Pierre Argillet, Paris, on Arches wove paper, the full sheet, sheet 764 x 568mm (30 1/8 x 22 3/8in)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
δ Salvador Dalí (1904-1989)Philosophe écrasé par le Cosmos, from La Conquête du Cosmos (Field 74-12-A; M&L 642a)Etching and lithograph printed in colours with embossing, 1974, signed and numbered from the edition of 195 in pencil, published by Lavigne, Paris, on watermarked BFK Rives wove paper, the full sheet, 996 x 700mm (39 1/4 x 27 in)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
δ Salvador Dalí (1904-1989)Infra-terrestres adorés par Dalí à 5 ans car il se croyait insecte (Field 74-12 F; M&L 649b)Etching and lithograph printed in colours with embossing, 1974, signed and numbered from the edition of 195 in pencil, printed by D'Art Bellini, Paris, published by Jean Lavigne, Paris, on BFK Rives wove paper, full sheet, 995 x 697 mm (39 1/8 x 27 1/2 in)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
δ Pablo Picasso (1881-1973)Le Singe (Baer 586 II A/C; Bloch 339)Etching with aquatint, 1936, a rare proof with the title inked before the steel facing and the bevelling of the plate, signed in red crayon, Baer cites 8 impressions in this state, as included in Buffon: Histoire Naturelle, on Montval laid paper, with full margins, sheet 442 x 330mm (17 3/8 x 13 in)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
δ Pablo Picasso (1881-1973)Le Taureau (Baer 377 II B/a; Bloch 330)Etching with aquatint, 1936, with the title inked, signed in red crayon, Baer cites the edition as 47 impressions in this state, as included in Buffon: Histoire Naturelle, on Montval laid paper, with full margins, sheet 442 x 330mm (17 3/8 x 13 in)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
δ Pablo Picasso (1881-1973)Le Couvent, from Saint Matorel (Bloch 22, Baer 26, see Cramer books 2)Etching, 1910, from the edition of 87, published by Kahnweiler, Paris, on Van Gelder laid paper, the full sheet, sheet 263 x 223mm (10 3/8 x 8 3/4in)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
ANTHONY CURRELL (b.1942) Memories of the Levant No.1 (From Wales Series 1962-64) No 6/20. Etching. Drypoint and plate tone, printed in black on 140lb Whatman paper. Printed by Editions Alecto. Currell studied and Central St. Martin's, London 1960-3 and Atelier 17, Paris 1963-4 with Stanley Hayter. Elected a full member of the Printmakers council of Great Britain in 1976. The V&A and the Government Art Collection hold several drypoint etchings from the 'Memories of the Levant' series in their collections. Literature: Tessa Sidley 'Editions Alecto' Page. 93. Plate size 61cmx 47cm
ANTHONY CURRELL (b.1942) Memories of the Levant No.2 (from Wales Series 1962-64). No 14 of 20. Etching. Drypoint and plate tone, printed in black on 140Ib Whatman paper. Printed by Editions Alecto. Plate size 61cm x 47cm. Currell studied and Central St. Martin's, London 1960-3 and Atelier 17, Paris 1963-4 with Stanley Hayter. Elected a full member of the Printmakers council of Great Britain in 1976. The V&A and the Government Art Collection hold several drypoint etchings from the 'Memories of the Levant' series in their collections. Literature: Tessa Sidley 'Editions Alecto' Page. 93.
MULLER FRÈRES; France, ca. 1910.Art Nouveau vase.Acid-etched multi-layered glass paste.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.
"ONCE UPON A TIME"; CAMILLE TUTRÉ VARREUX (France, 1872-1942).Art Nouveau vase, ca.1905.Acid-etched cameo glass.Marked "De Vez", pseudonym of Camille Tutré Varreux, master glassmaker of the Pantin firm from 1907.Measurements: 17 cm (height) x 12 cm (diameter).Multi-layered glass vase with a flared shape and a petal-shaped mouth. The decoration consists of a lake landscape of great detail and perfection (in the foreground branches and holm oak fruits, a young man passing the river in a boat and, in the background, houses and other vegetation). Cameo glass is a technique that has been known since ancient times, although it was revived in Europe at the end of the 19th century. The main innovation was the use of hydrofluoric acid instead of carving, which made it more widespread and cheaper to produce. The technique consists of blowing a bubble of two or more layers of glass of different colours, which are then carved or removed by acid etching the background, leaving the motif in relief, in the colour of the top layer of glass.The Cristallerie de Pantin was founded by E.S. Monot in 1851 in Pantin, near Paris. It developed a not very large production, marked by the variety and the high quality of its pieces, being today especially known for its cameo glass pieces and its paperweights. The name "De Vez" was used by Cristallerie de Pantin for its cameo glass production from 1907 and is the pseudonym of Camille Tutré Varreux, master glassmaker of the Pantin firm.
AFTER ROGER LAW "Creeping frog" etching, limited edition No'd 3/25 exhibited "The Fine Arts Society, Roger Law in the Land of Oz" 2005 bears label verso 39 cm x 35 cm together with AFTER FRED MIDDLEHURST "Cotswold hill park" coloured etching, limited edition No'd 21/75 bears label verso 33 cm x 51 cm together with six other various pictures, mixed media studies etc
AFTER LIONEL EDWARDS "The Challenge Exmoor" coloured print, signed in pencil 36 cm x 55 cm, AFTER HENRY WILKINSON "Fishing" dry point etching, No'd 106/180 signed in pencil bottom left 17 cm x 21 cm AFTER J BENSTED "Maidstone Grand Steeplechace" 31 cm x 36 cm and a new map of the County of Devon divided into hundreds, 2nd edition published 1804 49 cm x 54 cm
λ David Hockney (British b. 1937)Portrait of Richard Hamilton (S.A.C. 126/Tokyo 118)Etching with aquatint, 1971An unsigned proof aside from the edition of 3034 x 26.5cm (13¼ x 10¼ in.)Provenance:A gift to the present owner circa 1985/86Condition Report: Unexamined out of glazed frame. Light discolouration to the image with a white circular blemish to the middle of the left edge. There is one light stain to the lower left corner of the margin and two areas of foxing, one to the left middle edge and one to the right middle edge. There are some light handling creasing visible to the lower margin and very slight undulation to the sheet. Otherwise the work appears to be in good original condition.Condition Report Disclaimer
Brett Whiteley (Australian 1939-1992)MagpieSugarlift etching, 1977Signed in pencil and numbered 36/60Plate: 49.5 x 49cm (19¼ x 19¼ in.)Condition Report: Unexamined out of glazed frame. Light discolouration to the sheet with staining to the extreme edges. Otherwise appears to be in good original condition.Condition Report Disclaimer
Walter Sickert (British 1860-1942)The Burning of the Japanese Exhibition at Knightsbridge, 1885 (Bromberg 68)Etching, second statePlate: 24.5 x 21cm (9½ x 8¼ in.)Provenance:Collection of Deny Sutton, LondonThomas Agnew & Sons Ltd., LondonStair Galleries, New York Acquired from the above by the present owners in 2013Exhibited:London, Thomas Agnew & Sons Ltd., Master and Pupil, March 1972, no. 51Condition Report: Examined out of the frame. The sheet is attached to the mount along the top edge. There are two areas of discolouration to the reverse in the bottom left and right corners consistent with old mounting tape. There is general time staining to the margins and scattered areas of very faint foxing throughout the sheet. Condition Report Disclaimer
Bernard Kay (1927-2021) 'Composition', etching and aquatint, numbered 17/50, signed in pencil lower right, unframed, 52cm x 76cm, another by the same artist 'Las Casas de Los Olvidados', artists proof, signed and dated 1963 in pencil lower right, unframed, 49.5cm x 62cm, and one other by the same artist 'Interior at Portiers', etching, trial proof, signed in pencil lower right, unframed, 51cm x 65cm (3)Condition report: Some creasing and small folds to the corners in places. Minimal foxing and staining to the outer edges and borders. This could easily be concealed when framed. Otherwise ok.
Angela Newberry (b.1934) 'Australian landscape II', etching and aquatint, numbered 4/100, signed in pencil lower right, 51cm x 58.5cmCondition report: Overall ok with minimal display wear to the frame. Minor wrinkling to the paper under the glass, very small number of foreign objects under the glass.
After Pierre-Auguste Renoir (1841-1919)'Baigneuse debout, a mi-jambes', etching, with provenance label to the reverse, 18cm x 11cmCondition report: Overall ok, with minimal display wear and marks to the frame as expected. Minor foxing and blemishes. Please note we have not removed this piece from the frame to examine.
KATHLEEN CADDICK (b.1937), Snow on the Pennines, etching in colours, limited edition 189/350, signed and inscribed in pencil, plate size 12 1/2" x 15 3/4", aluminium frame, together with four others, similar (4) (Est. plus 21% premium inc. VAT)Generally very good condition, two framed without a mount and some glue(?) brown staining to back board, etchings fine
An important tankard with cover from the collection of King Fernando II (1816-1885)Portuguese silver tankard with cover, 19th century Double body, the inner in plain gilt silver and the outer of profuse repoussé and chiselled decoration with classical female masks, floral and foliage motifs and fruits, interlaced with volutes Fruit basket lid pommel Acanthus leaf, foliage motifs and classical bearded mask decoration to handle and neo-medieval thumbpiece with female bust Marked with King Fernando's gothic F monogram under the Royal Crown and inventory number 36 Maker's mark CIMS for Cirilo José Maz da Silva (L-198.0), registered June, 9th 1826 and Lisbon city mark (L-42.0) for ca. 1822 to ca. 1860Literature: F. Moutinho de Almeida/Rita Carlos "Inventário de Marcas de Pratas Portuguesas e Brasileiras" séc. XV a 1887 pp. 141, 111Height: 16 cm845 g Catalogue EssayAn unquestionable defining figure within the Portuguese 19th century cultural panorama, King Fernando II (Ferdinand of Saxe-Coburg-Gotha-Koháry, (Vienna 1816 – Lisbon 1885) would reveal himself, soon after his arrival in Portugal following his marriage to Queen Maria II of Portugal (1819-1853), as a committed and knowledgeable art collector. Amongst the broad scope of his interests, gold smithery certainly occupied a most relevant position as can be assessed from the 1866 inventory of his estate. In this long manuscript list, compiled by the king himself, all the collected objects are described and classified, possible manufacture dates proposed, and technical and aesthetic analyses annotated. This inventory is also revealing in terms of provenances, both in terms of which objects were King Fernando’s own acquisitions and which were gifted to him. Additionally, to dissipate any possible doubts on their ownership, the king also noted at the end of each entry: “Propriedade Minha” (My Own Property). Bequeathed to the Pena National Palace, in whose archive it is now preserved, this important inventory has recently been studied and published on-line, allowing for a deeper knowledge of various objects that have, through time, been dispersed, and are now owned by various public and private collections, or whose location is unknown, as a consequence of the splitting of the inheritance upon the King’s death. The tankard now brought to sale at auction by Veritas is recorded in this inventory list under nr.119, book I, which lists “Objects in silver, gold, etc.”: N.º 119) Caneca de prata por dentro dourada em relevo e cinzelada. Feita no estilo da renaissance, na officina de R. Pinto. Foi-me dada pela rainha D. Maria II de saudosa memoria, é uma bonita peça e tem a particularidade de me ter servido desde os primeiros annos depois da minha chegada a este paiz até ao dia de hoje, para conter a agoa para lavar a bocca; e accompanhou-me em muitas viagens n’este paiz. – Tem tampa móvel. Propr. minha. (Nr. 199) Silver tankard gilded on the inside in reliefs and chiselled. Made in the Renaissance style at the workshop of R. Pinto. It was gifted to me by Queen Maria II of wistful memory, it is an elegant piece and it has the peculiarity of having served me from the early years of my arrival to this country up untiltoday, to hold water to wash my mouth; and it has accompanied me in many travels through this country. – It has a mobile cover. My Property.) It is thus confirmed that the tankard was made in the workshop of Raimundo José Pinto (1807-1859), the Royal Silversmith that was also, certainly not coincidentally, the main supplier of both antique and modern silver pieces to the King consort. A master goldsmith, Raimundo José Pinto established himself as a businessman and dealer, having owned a very active workshop where Cirilo José Maz da Silva worked and whose mark (registered 1826) has been identified in this the tankard. Raimundo was also the co-owner of the firm Pinto & Sousa, based at Rua da Prata, in Lisbon, which after his death, becomes the renowned jeweller Estevão de Sousa. The inventory also clarifies that the tankard was a gift from Queen Maria II, prematurely dead in 1853, as well as that it was used for the King’s oral hygiene, a fact that explains its plain gilt interior. The fact that it accompanied King Fernando in his travels, from his early days in Portugal, suggests that it was a cherished object, as it can be expected within the Romantic sentimental context of the time, and independently of the antiquity or artistic merit that in general defined his collecting criteria, so clearly assessed from the secular 16th century Portuguese silver collection, partly preserved at Ajuda National Palace. Aware of her husband’s collecting interests, D. Maria gifted him other gold and silver pieces that are also described in the inventory and whose present location remains mostly unknown. D. Fernando refers such gifts in the “memorial diary” written following the Queen’s death, a document also kept in the Portuguese National Archives, a section of which we transcribe herewith: “Maria era tão boa, que prazer ela tinha em adivinhar os meus gostos. Para me ser agradável, ela, que antes não tinha a menor ideia de tais coisas, aprendera a apreciar e a amar as obras de arte. Com que alegria ela me trazia uma gravura de um bom mestre, alguma linda água-forte antiga ou algum belo trabalho em prata ou em prata dourada! Tudo o que veio dela, tudo o que ela arranjou e instalou comigo será sempre querido e precioso!” (Maria was very kind and had genuine pleasure in guessing my tastes. To be agreeable to me, she, who before had no idea of such things, had learned to enjoy and to love works of art. She would joyfully bring me a print by a renowned master, a charming antique etching or some beautiful silver or gilt-silver object! Everything that came from her, everything that she found and fitted with me will always be cherished and precious!). The tankard herewith described was engraved on the base with the King’s ownership mark (gothic script F) and the number 36, corresponding, not to the inventory referred above, but to another list compiled by a secretary in 1858, which is equally preserved at the National Archives. It this inventory it is described as “trabalho moderno, imitando o antigo, com cinco mascarões, sendo um na aza” (modern work copying the antique, with five classical masks, one in the handle). Following King Fernando II’s death it was eventually inventoried in his Necessidades Palace apartments Toilette, under nr. 2283, a detail that suggests that it had maintained the use for which it was originally destined. Described as “replicating Renaissance work” it was valued, for inheritance purposes, at 36 thousand reals. According to this post mortem inventory, also preserved at the National Archives, it became part of the lot inherited by Prince Afonso, Duke of Porto (1865-1920), commonly known as “O Arreda” (The Move Away), for his early interest in automobiles and speed. It was probably disposed of during the prince’s life, as was the case with other objects inherited from his grandfather which were acquired by Counsellor João Arroyo (1861-1930) and subsequently auctioned in the latter 1905 estate sale.Hugo XavierLiterature: Hugo Xavier, “Propriedade Minha”: ourivesaria, marfins e esmaltes da coleção de D. Fernando II, Coleções Em Foco | Palácios Nacionais |Sintra Queluz Pena, n.º 4, PSML, 2022. Disponível online em www.parquesdesintra.pt
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