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Click here to subscribeDelacroix (Eugene,1798-1863). Juive d'Alger,1833, etching on laid paper, as published by Cadart & Luquet, Paris for the Société des Aqua-Fortistes, the fourth state (of four), with the title, publisher's and printer's name added to lower margin, a very good, adrk impression, plate size 21.5 x 17.5 cms (8.5 x 6.9 ins), with margins, framed and glazedQty: (1)Footnote: Delteil 18.
Drury (Paul, 1903-1987). Nicol's Farm, 1925, etching on antique laid paper (with partial watermark), published by the XXI Gallery in an edition of 75 impressions, signed, dated, and titled in pencil, some overall toning/browning, framed and glazed, plate size 111 x 192 mm (4.25 x 7.5 ins), sheet size 216 x 250 mm (8.5 x 9.9 ins)?????Qty: (1)Footnote: Garton 18, v/vi.
Langmaid (Rowland 1897-1956). Plymouth Hoe, drypoint etching on cream wove paper, 1/100, image size approx. 90 x 330 mm (3.5 x 13 ins.), framed and glazed, artists proofs, signed and titled in pencil, plate size 88 x 335 mm (3.5 x 13.25 ins), with full margins, sheet size by 19 x 44 cm (7.5 x 17.25 ins), mounted to backing card with single glue spot to upper left and upper right black corner, framed and glazed (25.5 x 49.5 cm), with original printed title label, and framers label of Harris & Sons, Plymouth to verso, together withTower Reach & Greenwich from the River, two etchings on pale green wove paper, both artists proofs, signed in pencil, signed in pencil, plate size 63 x 166 mm (2.5 x 6.5 ins), with margins, both framed and glazed, both with period label of Deighton's Strand gallery to versoQty: (3)
Morisot (Berthe, 1841-1895). Berthe Morisot dessinant, avec sa fille,1889, drypoint etching on pale cream wove paper, printed with light plate tone, the second state (of two), a very good clean impression, plate size 19 x 14 cm (7.5 x 5.5 ins), with margins, framed and glazedQty: (1)Footnote: Johnson 8.
Palmer (Samuel, 1805-1881). The Skylark, 1850, etching on chine collé on thick wove paper, the seventh state (of eight), after the plate was minimally cut down, but this impression, apparently without the vertical line extending obliquely to the right of the skylark towards the tree on the right side of the image, and without the etched lettering to lower margin Samuel Palmer 1717 (as described in Lister), signed in the plate to lower-left corner, a few light scattered spots, and pale mount stain, margins trimmed, plate size 120 x 97 mm, sheet size 134 x 105 mm, framed and glazed (19.5 x 17.5 cm)Qty: (1)Footnote: Lister E2, vii/viii. Perhaps an intermediate state between states 6 and 7.
Palmer (Samuel,1805-1881). Christmas, or Folding the Last Sheep, 1850, etching on chine collé on heavy pale cream wove paper, a few light spots and mount staining, plate size 124 x 117 mm, etched surface 98 x 81 mm, and before the plate width, the second state (of five), with signature etched to lower right corner of the image before the reduction in plate width to 102 mm, upper blank margin with some loss (where it previously adhered to mount), sheet size 157 x 146 mm, framed and glazed (18 x 19.5 cm)Qty: (1)Footnote: Lister E4, ii/v.
Sutherland (Graham, 1903-1980). Pecken Wood, 1925, etching, on heavy buff laid paper, a very good well-contrasted impression of the third to fifth state (with the artist's name and date added to upper right corner of the plate), signed in pencil lower right, one of a total edition of 85 published of the third to fifth states (there was one impression printed of the first state and two of the second), published by the Twenty One Gallery, with margins, light mount stain, outer edges strengthened with paper to verso, hinge-mounted, in pale cream card window mount, plate size 139 x 188 mm, sheet size 160 x 230 mmQty: (1)Footnote: Cooke, Graham Sutherland Early Etchings, 26, iii/iii. Man 24, v/v. Plate destroyed.
Whistler (James Abbott McNeill, 1834-1903). Bibi Lalouette, 1859, etching and drypoint, on thin Japan paper with wirelines, a fine impression of the second (and final) state, printing with burr, platetone and inky plate edges, with margins, some minor handling creases, generally in very good condition, plate size 225 x 152 mm (8 7/8 x 6 1/8 ins), sheet size 258 x 201 mm (10 1/4 x 8 ins), framed 42 x 33.5 cmQty: (1)Footnote: Provenance: Thomas Agnew & Sons Ltd., Inv. No. 34624.Kennedy 51 ii/ii.Bibi was the 'patron's' son at a restaurant in the Rue Dauphine, Paris, famous for its burgundy, where Whistler and other members of the Société des Trois, Fantin-Latour and Legros, regularly took their meals. According to the Pennells, the artist owed Lalouette 3,000 francs when he left Paris.
Whistler (James Abbott McNeill, 1834-1903). La Vieille aux Loques (from Twelve Etchings from Nature), 1858, etching and drypoint on off-white laid paper, signed in the plate lower right, the 3rd state (of three), mounted (to sheet edges only) on later card, plate size 210 x 148 mm (8.2 x 5.8 ins), sheet size 252 x 181 mm (9.9 x 7.1 ins), framed and glazed, with old typewritten label for the work to versoQty: (1)Footnote: Kennedy 21, iii/iii.
Auerbach (Frank, 1931-). Head of Julia, 2001, etching on Somerset white paper, printed by Mark Balakjian at Studio Prints, in collaboration with Marlborough Graphics, London, in an edition of 150 impressions, signed, dated 01, and numbered 63/100 in pencil, as issued in the exhibition catalogue of the artist work entitled Frank Auerbach, Paintings and Drawings 1954-2001, at the Royal Academy of Arts, 14 September-12 December 2001, plate size 11.5 x 14.5 cm (4.5 x 5.75 ins) sheet size 23 x 25.5 cm (9 x 10 ins), the book also signed by the artist in ink and numbered 63 to colophon at rearQty: (1)
John, Augustus Edwin (1878–1961). The Malt House, Etching and drypoint, 1904, a very good, atmospheric impression of the second (final) state, signed in pencil, inscribed with another hand in black pen and ink ‘Plate No. 14 “The Little Malt House” Imp. no. 16/25, on laid paper, with wide margins, a deckle edge at right, in good condition, minor rubbing around the signature, minor surface dirt, plate 8.1 x 10 cm (3 1/4 x 4 ins.), sheet 22.5 x 28.5 cm (8 7/8 x 11 1/4 ins), framed (36 x 36 cm.)Qty: (1)Footnote: Literature Campbell Dodgson 126
Trevelyan (Julian, 1910-1988). Marseille, 1975, soft-ground etching with aquatint printed in colours, on T.H. Saunders handmade heavy paper, signed, titled and inscribed 'Artist's proof', and with colour notes added below 'I. Ultramarine (tube), Windsor Red (tube), 1 Windsor orange (tube), 1 II black (Windsor Penrose), 1 burnt sienna (tube) 1', artist's proof aside the numbered edition of 51 impressions, printed by Studio Prints, some minor light spots and marks to margins (generally in good condition), with full margins, sheet size 79 x 56.5 cm (31 x 22.5 ins)Qty: (1)
Bloteling (Abraham, 1640-1690). Self Portrait of Anne Killigrew, circa 1680's, mezzotint by Bloteling after Anne Killigrew (1660-1685), a rich impression of the second (final) state, printing with effective contrasts, on fine laid paper with a partially visible letters watermark, with margins, a short repaired tear and a short tear at the lower sheet edge, a nick and and the extreme corner tip lower right lost, otherwise generallly in good condition, plate size 26.1 x 18.5 cm (10 1/4 x 7 1/4 ins), sheet size 32 x 22 cm (12 1/2 x 8 5/8 ins), together with Head of a bearded beggar in profile, facing right, etching after Sir Anthony van Dyck (1599-1641), a very good, clear impression, presumably on laid paper, with a narrow margin at bottom, otherwise retaining a blank fillet of paper around the borderline, laid down on card, a small hole at the upper sheet edge, sheet size 27.2 x 20.8 cm (10 3/4 x 8 1/8 ins)Qty: (2)Footnote: Provenance: Christopher Mendez, London.Hollstein 176 (Self Portrait of Anne Killigrew). Anne Killigrew (1660–1685) was an English poet and painter, extolled by contemporaries as 'A Grace for beauty, and a Muse for wit.' Killigrew's poems were circulated in manuscript and published posthumously in 1686 after she died from smallpox at the age of just 25.
Callot (Jacques, 1592-1635). La Carrière de Nancy (also known as Rue Neuve de Nancy), circa 1630, etching on laid paper, a very good, atmospheric impression of the first state (of two), before Israël Silvestre’s address, with thread margin or trimmed on the platemark at bottom, otherwise trimmed to the borderline, laid down at the sheet edges to a paper support, a small defect at upper left corner, a small repaired area at upper centre (generally in good condition), sheet size 16.6 x 51 cm (6 1/2 x 20 ins), together with Le Parterre de Nancy (Jardin de Nancy), circa 1630, etching, a delicate impression of the second (final) state, with Israël Silvestre’s address, with wide margins, laid down at the sheet edges to a paper support, in good condition, plate size 26 x 39 cm (10 1/4 x 15 3/8 ins), sheet size 31 x 44.2 cm (12 1/8 x 17 3/8 ins)Qty: (2)Footnote: Literature: Lieure 589 and 566 respectively.
Callot (Jacques, 1592-1635). Le Martyre de St. Sébastien, circa 1631-33, etching on laid paper, a fine impression of the first state (of two), before Israël Silvestre’s address, trimmed to the subject, in good condition, two vertical printer’s creases (inherent to production), a very faint area of discolouration upper right, laid to the support sheet at the upper and lower sheet edges, sheet size 16.2 x 32.5 cm (6 3/8 x 12 3/4 ins)Qty: (1)Footnote: Literature: Lieure 670.
Callot (Jacques, 1592-1635). Vue du Louvre (from Les Deux Grandes Vues de Paris), circa 1630, etching on laid paper, a good impression of the fifth (final) state, with re-touching and the grainy printing behind the highest tower of the Palais Bourbon at right, as published in L’Artiste, with wide margins, in good condition, laid down at the sheet edges to a paper support, a few pale foxmarks, plate size 16.2 x 34.2 cm (6 3/8 x 13 3/8 ins), sheet size 31 x 45.2 cm (12 1/4 x 17 3/4 ins), together with copies of Vue du Louvre and Vue du Pont Neuf by Bonnart, each entitled 'Veuë Ancienne de Paris', on laid paper, trimmed to the subject, laid down on paper supports, sheet size 16 x 32 cm (6 1/4 x 12 1/2 ins) or similarQty: (3)Footnote: Literature: Lieure 667 (Vue du Louvre).
Della Bella (Stefano, 1610-1664). Castel Sant'Angelo, Rome, 1634, etching on laid paper, bears watermark (indistinct), a good impression, narrow margins, early ownership name in brown ink to verso 'Gallents' ? (possibly later 17th or early 18th century), plate size 211 x 343 mm (8.25 x 13.5 ins), sheet size 217 x 345 mm (8.5 x 13.6 ins), mountedQty: (1)Footnote: Literature: De Vesme/Massar 818.
Della Bella (Stefano, 1610-1664). The Procession of the Holy Sacrament, 1648, etching on laid paper, a fine impression, with a thread margin at bottom, otherwise trimmed to the borderline, in good condition, sheet size 33 x 47.5 cm (13 x 18 5/8ins), sheet edges laid to the support sheet (34.5 x 49.5 cm), together with Campo Vaccino (Plate II from Paysages et Ruines de Rome), 1656, etching on laid paper, a very good impression, some thinning to edges, sheet size 14.1 x 14 cm (5 5/8 x 5 1/2 ins) plusCollignon (Francois, circa 1610-1687). Landscape with a monastery on a rocky island, & A Hunt, 2 etchings, both approximately 8.1 x 15.8 cm (3 1/4 x 6 1/4 ins)Qty: (4)Footnote: Literature: De Vesme/Massar 62.73 and 127.820 respectively.
Duck (Jacob, 1600-1667). River Landscape with Horseman, circa 1650, etching on fine laid paper with a Pro Patria watermark, a very good impression, printing with contrasts and clarity, trimmed on the platemark on three sides, just within at top, in good condition, sheet size 17.7 x 23.2 cm (7 x 9 1/8 ins), together with Van Dyck (Anthony, 1599-1641). Jan de Wael (from the Iconography), circa 1626-1641, etching with engraving on laid paper, a good impression of the fifth state (of six), with small margins, in good condition, plus Boel (Quirin, 1620-1668). Peasant with a fur cap drinking wine (after David Teniers), circa 1670, etching on laid paper, with narrow margins, in good condition, remnants of an old mount at the reverse sheet corners, and two others: Peasant in a high fur cap, smoking, after David Teniers (slight discolouration), and a later copy of Group of Three Trees, by Isaacks van Ruisdael (1599-1677), etching on wove paper, largest sheet size 27.3 x 19.8 cm (10 3/4 x 7 3/4 ins), smallest sheet size 12 x 10 cm. (4 3/4 x 4 ins)Qty: (5)Footnote: Literature: Hollstein 8 (Jacob Duck); New Hollstein 15 (Van Dyck).
Kauffman (Angelika, 1741-1807). Young Man Musing, 1762, etching on laid paper with narrow margins, a very good, bright impression, plate size 12.7 x 9.5 cm (5 x 3 3/4 ins), sheet size 13.5 x 10.3 cm ( 5 1/4 x 4 1/8 ins), in very good condition, a few pale scattered foxmarks in the left of subject and left margin, framed (32 x 26.5 cm) Qty: (1)Footnote: Literature: Andresen 21.
Leoni (Ottavio Maria, Il Padovano, 1578-1630). Self Portrait as the Knight of Malta, 1625, engraving and etching on laid paper, a fine impression printing with clarity, though printing faintly in places on the feigned frame, trimmed to the borderline, minor traces of paper mounting at the right sheet edge verso, 14.2 x 11.2 cm (5 5/8 x 4 3/8 ins) together with four other portraits of artists from the same series by Leoni, all very good to good impressions on laid paper: Guercino, 1623, with narrow margins, Cesare d'Arpino, 1621 (trimmed to the borderline), and Cristoforo Roncalli, called Pomerancio, 1623 (two impressions, one with narrow margins and one trimmed to the borderline), largest sheet 14.8 x 11.7 cm (5 7/8 x 4 5/8 ins)Qty: (5)Footnote: Provenance: Bonham's, London, 29 November 2011, lot 17.Literature: Bartsch, XVII. 9, 18, 23, 35 (2).
Leyden (Lucas van, 1494-1533), Ecce Homo,1510 [but later], engraving on laid paper, a late impression, with thread margins or trimmed on the platemark, partially laid to the support sheet, a nick at the lower sheet edge, pale staining upper right, minor surface dirt, sheet size 28.8 x 45.2 cm (11 1/4 x 17 3/4 ins), together with Van Vliet (Jan, circa 1610-1668). one plate from the set of ten Beggars by Rembrandt, etching on laid paper, a very good impression, with a partial thread margin at bottom, otherwise trimmed on the platemark, together with two other etchings after Rembrandt's Beggars by François Vivares (1709–1780) on laid paper, with narrow margins and laid to support sheets at top and bottom, sheet size 9.2 x 6.8 cm (3 5/8 x 2 5/8 ins) and smaller Qty: (4)Footnote: Literature: New Hollstein 71 (Van Leyden); See Hollstein 73-82 for Van Vliet.
Ostade (Adriaen Jansz. van, 1610-1685). The Cobbler, 1671, etching on laid paper with an indistinct watermark, a very good impression of the eighth state of ten (or later), after the trees to the right were altered to vines, with narrow margins, a small area of tape staining towards the upper sheet edge, together with The Singers, 1667, etching on laid paper, a very good, black impression of the fourth state (of seven), retaining a fillet of blank paper around the subject and the artist's etched signature, in good condition, plus The Barn, 1647, etching on fibrous wove paper, a good impression of the the tenth (final )state, trimmed on the platemark, in good condition, and Bust of a Laughing Peasant, etching, a late impression, trimmed on the platemark; plus two etchings in reverse after van Ostade (cf. Hollstein, Godefroy 31 and 47), largest sheet size 24.3 x 19.2 cm (9 5/8 x 7 1/2 ins), smallest sheet size 7.3 x 6 cmQty: (6)
Ostade (Adriaen Jansz. van, 1610-1685). The Quacksalver, 1648, etching on laid paper, a very good impression of the ninth (final) state, with narrow margins, in good condition, plate size 14.7 x 12.5 cm (5 3/4 x 5 ins), sheet size 15.3 x 12.7 cm (6 x 5 ins), together with The Concert, circa 1653, etching on laid paper, a good impression, presumably after the sixth state and before the tenth state with the horizontal lines below the elbow of the seated man, with a thread margin at top and bottom, retaining a blank fillet of paper outside the border line at left and right, plus The Pigkillers, circa 1652, etching on laid paper, a good impression of the eighth (final) state, trimmed on or within the platemark, and The Smoker and the Drinker, 1650, etching on laid paper, a later impression, with margins, plus two others: The Hunchbacked Fiddler, 1654, etching on laid paper, a later impression, and a copy in reverse of The Family (cf. Hollstein, Godefroy 46), largest sheet size 17.5 x 15.2 cm (6 7/8 x 6 ins), smallest sheet size 10.2 x 8.2 cm (4 x 3 1/4 ins)Qty: (6)Footnote: Literature: Hollstein, Godefroy 43 (The Quacksalver); 30 (The Concert); 41 (The Pigkillers); 13 (The Smoker and the Drinker) and 44 (The Hunchbacked Fiddler).
Piranesi (Giovanni Battista, 1720-1778). The Sawhorse (plate XII from Carceri d'Invenzione), 1749, etching, engraving, sulphur tint and scratching, a fine, rich impression of the fifth state (of six), on laid paper with an Auvergne watermark (Robison 78, dated 1800-1809), the usual central, vertical drying fold, in very good condition, small, inconspicuous brown stain lower centre, with good margins, plate size 41.4 x 55.5 cm (16 1/4 x 21 3/4 ins), sheet 52.5 x 78.5 cm (20 3/4 x 30 7/8 ins), in a fine gilded frame by Guido of Boston (77 x 91 cm)Qty: (1)Footnote: Literature: Robison 38.This work, first etched lightly in 1749, is one of sixteen plates published by Piranesi himself for the second edition (1761-1778), which he re-worked in darker, more detailed states, more fitting to the atmosphere of dark and cavernous prisons. This impression is in the fifth state (of six), after the artist's final round of re-work and with the addition of the letter 'C' in front of Piranesi's signature, and is from the first Paris edition (1800-1809).
Piranesi (Giovanni Battista, 1720-1778). The Grand Piazza (plate IV from Carceri d'Invenzione), 1749, from the second edition published by the artist, fourth issue, through early printings of the fifth edition, mid 1770s, etching, engraving, sulphur tint and burnishing, a fine, rich impression of the fifth state (of six), on laid paper, the usual central, vertical drying fold, with margins, the usual horizontal drying fold, in good condition, a horizontal crease in the lower margin, a few pale stains in the lower and right margins, plate 54.5 x 41.2 cm. (29 1/2 x 16 1/4 ins), sheet 75 x 52.4 cm (29 1/4 x 20 5/8 ins.), in a Guido of Boston gilded frame (88 x 72 cm)Qty: (1)Footnote: Literature: Robison 31.This work, first etched in 1749, is one of sixteen plates published by Piranesi himself for the second edition, 1761-1778, which he re-worked in darker, more detailed states, more fitting to the atmosphere of dark and cavernous prisons. The first edition, 1749-1760, had been published by Giovanni Bourchard as fourteen prints in lighter, more sketchy and airy states. This print is in the fifth state (of six), after the artist's final round of re-work, but before the addition of the number in Arabic numerals in the upper right corner of later printings.
Piranesi (Giovanni Battista, 1720-1788). Ara antica sopra la quale si facevano anticamente i sagrifizi, con altre ruine all'intorno, 1743, etching on laid paper, a very good,, rich impression of the second (final) state, with number and legend, published by Bouchard, Rome, 1750, with margins, generally in good condition, the paper folded at left and right, plate size 24.5 x 34.5 cm (9 5/8 x 13 1/2 ins), sheet size 38.4 x 53.8 cm (15 1/8 x 21 1/8 ins), framed (48 x 58 cm), together with Tempio antico inventato e disegnato alla maniera di quelli che si fabbricavano in onore della Dea Vesta, two impressions, the first a fine impression of the first state (of two), before numbers and legend, published by Pagliarini, Rome, 1743, with margins, some discolouration, small losses and holes at the corners and margins due to old stitching, plate size 40 x 25.8 cm (15 3/4 x 10.1/8 ins), sheet size 43.2 x 29.5 cm (17 1/8 x 11 5/8 ins), framed (64.5 x 49.5 cm), the second a very good impression of an intermediate state with the legend but without the number, published by Bouchard, Rome, 1750, on laid paper, with margins, in good condition, some pale discolouration, a pale stain in the left and lower margins, some surface dirt, some nicks at the right sheet edge, plate size 40.4 x 26.2 cm (15 7/8 x 10 1/4 ins) sheet size 53.8 x 42.5 cm. (21 1/4 x 42.5 ins), framed (64.5 x 49.5 cm) Qty: (3)Footnote: Literature: Focillon 16, 17; Wilton-Ely 19, 36.These etchings are from Prima Parte di Architetture e Prospettive (1743). Originally published as a set of twelve, with titlepage, by Pagliarini in Rome, in 1743, and subsequently as a set of sixteen in Opere Varie by Bouchard, Rome, in 1750.
Piranesi (Giovanni Battista, 1720-1778). Rovine dell’Anfiteatro detto di Domiziano nell’Orto de’ Monaci de S. Paolo d’Albano (from Antichità di Albano e di Castel Gandolfo), 1764, etching on laid paper, a very good impression, with margins, untrimmed at the bottom, the usual central vertical fold, plate size 39.5 x 63.8 cm (15 1/2 x 25 1/8 ins), sheet size 56.5 x 79.5 cm (22 1/4 x 31 1/4 ins), together with Descrizione e Disegno dell'Emissario del Lago Albano di Gio Battista Piranesi, 1762, titlepage etching from the same work, on laid paper, a good impression, with margins, uncut at the right, a short tear in the lower margin (the left margin folded, a vertical crease and stitchmarks in the left margin inherent to production), minor discolouration, generally in good condition, plate size 42.5 x 27 cm (16 3/4 x 10 5/8 ins), sheet size 51.8 x 37 cm (20 3/8 x 14 1/2 ins), framed (67 x 49.5 cm) ? Qty: (2)Footnote: Literature: Wilton-Ely 571.
Piranesi (Giovanni Battista, 1720-1788). Cinerary Urn ornamented with an Owl (from Vasi, Candelabri, Cippi, Sarcophagi, Tripodi, Lucerne, ed Ornamenti Antichi), 1778, etching on laid paper, with margins, deckle edge at left, in very good condition, plate size 38.7 x 25.8 cm (15 1/4 x 10 1/8 ins) sheet size 53 x 36.8 cm (20 7/8 x 14 3/8 ins), framed (59 x 49.5 cm), together with Pars Cellarum Subterranearum Capitolii, quae antiquitus dicebantur Favisse (from Il Campo Marzio dell' Antica Roma), 1762, etching, a very good impression, with margins, slightly unevenly trimmed at left, plate size 46.6 x 28.8 cm (18 3/8 x 11 3/8 ins), sheet size 55 x 40.7 cm (21 5/8 x 16 ins), framed (70 x 52 cm)Qty: (2)Footnote: Literature: Wilton-Ely 978 and 588.
Piranesi (Giovanni Battista, 1720-1788). The Monumental Tablet (from the set of four Grotteschi), 1745, etching on fibrous laid paper, a very good impression of the third state (of four), with the number 27 added in the lower right corner (published circa 1790-1835), with margins, very good condition, a central vertical crease inherent to production, supported verso, plate size 39 x 53.7 cm (15 3/8 x 21 1/8 ins), sheet size 55 x 69 cm (21 5/8 x 27 1/8 ins), fine gilt frame by Guido of Boston (62 x 73 cm) Qty: (1)Footnote: Literature: Robison 24.
Piranesi (Giovanni Battista, 1720-1788). The Ponte Lucano, with the Tomb of the Plautii (from Vedute di Roma), 1763, etching, a fine, richly inked impression of the first state (of four), with the artist's Roman address and price of 'paoli due e mezzo', with margins, the usual central vertical fold, a small repaired spot along the fold inconspicuously touched in with pen and black ink, plate size 44.5 x 65.7 cm (17 1/2 x 25 3/4 ins), sheet size 53.2 x 76.2 cm (20 7/8 x 30 ins), framed (71 x 89 cm) Qty: (1)Footnote: Literature: Hind 68.
Piranesi (Giovanni Battista, 1720-1788). Veduta interna della Camera Sepocrale nella Vigna Casali a Porto S. Sebastiano (from Le Antichita Romane), 1756, etching, probably published between 1756 and 1784, a very good impression, on laid paper, with margins, minor, pale spotting and discolouration in the margins, plate size 37.8 x 50.4 cm (14 7/8 x 19 7/8 ins), sheet size 51 x 67.8 cm (20 1/8 x 26 3/4 ins), fine gilt frame by Guido of Boston (61.5 x 75 cm) Qty: (1)Footnote: Literature: Wilton-Ely 413.
Rembrandt (Harmensz. van Rijn, 1606 – 1669). Woman bathing her feet at a brook, 1658, etching and drypoint, a fine impression of New Hollstein’s first state (of two), before the scratches at upper centre, with inky plate edges, with small to narrow margins, in good condition apart from the lower left corner made up (slightly affecting the subject), a further small made-up area to the upper left corner with associated minor staining to the sheet, a few nicks to the extreme sheet edges, a couple of tiny thinned spots, remnants of previous hinging to upper corners verso, plate size 16.1 by 8.1 cm (6 1/4 by 3 1/8 ins), sheet size 16.6 by 8.7 cm (6 1/2 by 3 3/8 ins), framed (33.5 x 23.5 cm)Qty: (1)Footnote: Provenance: Bibliothek der Akademie der Bildenden Künste, Vienna, with their stamp to verso (Lugt 2575); Sotheby’s London, 30 June 2021, lot 79.Literature: Bartsch, Hollstein 200; New Hollstein 309; Hind 298.
Rembrandt (Harmensz. van Rijn, 1606 – 1669). Male Nude, Seated and Standing ('Het Rolwagentje'), circa 1646, etching and drypoint on paper with a Strasbourg Lily watermark (Hinterding G. c.), a very good impression of New Hollstein’s first state (of eight), with some slipped printing most evident in the lower left corner, with small margins, a few repaired areas towards the corners and at centre of the right sheet edge (mostly visible verso), a few further tiny repairs to sheet edges, pale mottled fox marks, a soft crease at the lower right corner, plate size 19.5 x 13 cm (7 5/8 x 5 1/8 ins), sheet size 25 x 13.8 cm (8 x 5 3/8 ins)Qty: (1)Footnote: ProvenanceL Private Collection, Austria; Sotheby’s London, Old Master Prints, 30 June 2021, lot 81.Literature: Bartsch, Hollstein 194; New Hollstein 233, i/viii; Hind 222.
Rembrandt (Harmensz. van Rijn, 1606-1669). The Strolling Musicians, 1635, etching on laid paper, a good impression of New Hollstein's third (final) state, printing with the plate tone characteristic of a Basan impression, with margins, plate size 14.1 x 11.8 cm (6 1/8 x 4 5/8 ins), sheet size 15.5 x 13 cm (6 1/8 x 5 1/8 ins), framed and glazed (33.2 x 28 cm) Qty: (1)Footnote: Literature: Bartsch, Hollstein 119; New Hollstein 141, iii/iii.
Rosa (Salvator, 1615-1673). The Tritons (Plate 6 from The Triton Group), circa 1660, etching on laid paper, a very good, vibrant impression printing with light plate tone, with margins, a few short repaired tears in the lower margin, a small thin area at the right sheet edge, generally in good condition, plate size 9.6 x 21.4 cm (3 3/4 x 8 3/8 ins), sheet size 12.8 x 24.2 cm (5 x 9 1/2 ins), framed and glazed (34.5 x 52.5 cm)Qty: (1)Footnote: Literature: Bartsch 16.
C. A. FREEMAN (XIX-XX). A wooded landscape with figure and cow, signed in pencil lower right, etching on paper, unframed, 53 x 30 cm, together with JOHN FINNIE (1829-1907). Scottish school, an extensive stormy wooded river landscape with corn stooks ion foreground, signed in pencil lower right, aquatint on paper, unframed, 41 x 58 cm
Thomas Rowlandson (1757-1827). Transplanting of Teeth, satirical caricature, etching with contemporary hand-colouring, early state on laid paper, published 20 November 1787 (day & month recorded in ink), by J. Harris, Dean Street, Soho, with manuscript title. Approx. 31cm by 44cm, framed & glazed, bearing The Railings Gallery label verso. Trimmed untidily within engraved area, closed tear across left, appears to be lightly tipped-in rather than stuck down but unexamined out of frame
Caricatures. A collection of 23 framed satirical prints, including 'Attention', hand-coloured etching on wove paper by Thomas Rowlandson after George "Mustard" Woodward; 'The Tooth Ache', two duplicate etchings by Rowlandson (both later restrikes); 'The Morning News', hand-coloured etching after Henry William Bunbury; 'Cham-Paign and Real-Pain', hand-coloured etching, anonymous; six engravings by Tim Bobbin (pseudonym of John Collier), four of which are trimmed and mounted on late-18th/early-19th century scrapbook pages; 'Acute Pain', later engraving after Bobbin; 'The Country Tooth Drawer' and 'The Town Tooth Drawer', engravings by William Davison of Alnwick, later hand-colouring; 'The Travelling Quack', chromolithograph of Gladstone by Tom Merry; 'Le baume L'acier', hand-coloured lithograph by Louis-Leopold Boilly; four hand-coloured prints after C. C. Henderson (later prints of engravings); two French cartoons (later copies of a lithograph and an engraving); 'For Faith and Freedom', wood engraving after Forestier (23)
Full title: Salvador Dali (1904-1989): 'L'Hostie', etching and aquatint, ed. 251/300, (1961)Description: Work: ca. 52,3 x 42,9 cmÊ Frame: 77,2 x 57,5 cmCondition:The absence of a condition report does not imply that a lot is in perfect condition. Please contact us to let us know which lots are of interest, so we can make the requested reports for you.Once complete, they will be published on our website (www.coronariauctions.com)High resolution pictures are already available on our website at www.coronariauctions.com. Further questions are always welcome at info@coronariauctions.com
Full title: Salvador Dali (1904-1989): 'Femme, cheval et la mort' (Pomes secrets d'Apollinaire), etching, ed. 98/235, [1967]Description: Work: ca. 31,2 x 23,5 cmÊ Frame: 61,8 x 51,8 cmCondition:The absence of a condition report does not imply that a lot is in perfect condition. Please contact us to let us know which lots are of interest, so we can make the requested reports for you.Once complete, they will be published on our website (www.coronariauctions.com)High resolution pictures are already available on our website at www.coronariauctions.com. Further questions are always welcome at info@coronariauctions.com
CRUZEIRO SEIXAS (1920-2020)Untitled indistinctly signed (lower right)metal relief with laser etching15.4 x 21cm (6 1/16 x 8 1/4in).Executed in 2013Footnotes:ProvenanceThe artist's collection.Acquired from the above by the present owner.ExhibitedLisbon, Atmosfera m, Construct the Perfect Nothing, 2019.Lisbon, Sociedade Nacional de Belas-Artes, Núcleo Cadávre Exquis, 3 – 31 December 2020.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
A sword, late 17th century slender single edged blade 32½" of thin wedge section, etched with Turks wielding scimitars, king's head (?), latin mottoes including "Carolus", birds and scrolls, with iron falchion type hilt, the crossguard and knucklebow in the form of swan necks terminating in swan's head, the grip embossed overall with foliage and scrolls, and with small spherical pommel. GC (the blade etching worn). £600-800
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![Leyden (Lucas van, 1494-1533), Ecce Homo,1510 [but later], engraving on laid paper, a late impression, with thread margins or](https://cdn.globalauctionplatform.com/9a21f8f7-bb3e-4455-8db4-ae4400b9af6b/4ac4cd17-c6d7-4a70-9d2f-ae4600db9303/468x382.jpg)
![Full title: Salvador Dali (1904-1989): 'Femme, cheval et la mort' (Pomes secrets d'Apollinaire), etching, ed. 98/235, [1967]D](https://cdn.globalauctionplatform.com/50c734ef-711b-4cf5-943b-ae45010637ed/c964f804-4909-4cb1-be41-ae4601805b17/468x382.jpg)
