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Click here to subscribeAntique original etching on wove paper entitled Marche aux Puces (Flea Market) by French Realist Auguste Brouet who represents the lowest rabble of Parisian society. On lower left: Le Marche aux Puces. On lower center: Chalcographie du Louvre with blind stamp for the Musee du Louvre. On lower right: Eau-forte Auguste Brouet. Artist: Auguste Brouet (France 1872-1941)Issued: c. 1920Dimensions: 17.25"L x 13"HCountry of Origin: FranceCondition: Age related wear.
This antique second state drypoint etching on paper is after French Post-Impressionist artist Paul Cezanne's original Guillaumin au Pendu (Portrait of the Artist Guillaumin with the Hanging Man.) Housed in a dark brown wood with silver color and cyan borders and a black velvet mat. Artwork dimensions: 8"L x 8"H. Frame size: 14.50"L x 14.50"H x 1"W. Artist: Paul Cezanne (French 1839-1906)Issued: c. 1873Country of Origin: FranceCondition: Age related wear.
This large 18th century hand-colored etching on board by German Rococo Master Johann Elias Ridinger depicts a splendid black horse that practices the trot with a standing cavalier by his side. Written in French, German and Latin below plate: Le Trot a la Corde a Gauche. On lower right below plate: Joh. El. Ridinger inv. des. et exc. A V. Artist: Johann Elias Ridinger (German 1698-1767)Issued: c. 1750Dimensions: 17.75"L x 22"HCountry of Origin: GermanyCondition: Age related wear.
Beautiful antique black and white etching on paper after Anthony van Dyck's 1641 original painting William II Prince of Orange and his Bride Mary Stuart, engraved by French artist Charles Baude. On top of plate: Planche LXXIV (74.) Housed in an imposing gilt and black frame. Sight size: 10"L x 13.50"H. Frame size: 18"L x 21"H x 1.75"W. Artist: Charles Baude (French 1853-1935) after Anthony van Dyck (1599-1641)Issued: Early 19th centuryCountry of Origin: FranceCondition: Age related wear.
Original etching on paper by Contemporary Realist and Founder and Director of The Florence Academy of Art Daniel Graves who represents a quaint view of a canal in Venice, Italy. Signature in plate and in graphite on lower right: D. Graves. Edition number on lower left: ED 200. Title in lower center: Venezia. Housed in a gilded and black frame with an ecru mat. Sight size: 7.50"L x 6.50"H. Frame size: 18"L x 16.50"H x 0.75"W. Artist: Daniel Graves (American b. 1949)Edition Number: Edition of 200 Country of Origin: United StatesCondition: Age related wear.
Original antique etching on laid paper by Realist Andre de Szekely (Kelly) that depicts the Gothic Notre-Dame Cathedral from the banks of the river Seine where a microcosm of Old Paris working class interacts. Signature in graphite on lower right: Kelly. Title and date in plate on lower left: Paris 1925. Artist: Andre de Szekely known as Kelly (Hungarian 1870-1940)Issued: 1925Dimensions: 15.25"L x 13"HCountry of Origin: HungaryCondition: Age related wear.
Original etching on paper after Baroque artist Guido Reni's 17th century monumental painting The Toilet of Venus. It depicts the Greek goddess of love with her female attendants and her son Cupid standing by her side with his bow and arrows. On lower left: Guido Reni Pinx. On lower right: Christophonis ab aqua Vicentinus sculptit 1773 (engraved by Vicente.) Housed in a gilded frame and a burgundy mat with a white border. Sight size: 15.75"W x 20"H. Frame size: 25.75"W x 30"H x 1"W. Artist: After Guido Reni (Italian 1575-1642)Issued: 1773Country of Origin: ItalyCondition: Age related wear. Some foxing.
Original etching on thick paper that represents a Classically dressed woman who looks at a single flower she holds in her hand. Signature on lower left: illegible. Housed in deep wooden frame with a light grey linen mat. Sight size: 5"L x 6.25"H. Frame size: 9.50"L x 11.25"H x 1.75"W. Issued: c. 1970Condition: Age related wear.
Entitled Trojan Fish, this awesome etching on wove paper by Hungarian artist Kadar Janos Miklos depicts a Surrealist scene in a style reminiscent of Hieronymus Bosch. Housed under an off-white mat. Sight size: 16"L x 13"H. Mat size: 20"L x 16"H. Signature and date in pencil on lower right: Kadar Janos Miklos 69. Title and location on lower left: Trojai hal, Parizs 1969 Nov. Artist: Kadar Janos Miklos (Hungarian b.1939)Issued: 1969Country of Origin: HungaryCondition: Age related wear. Traces of glue on right border of etching.
Original etching on paper by Contemporary Realist and Founder and Director of The Florence Academy of Art Daniel Graves. He represents an outstandingly detailed antique door knocker with a fierce lion and grotesque figures. Signature in plate and in graphite on lower right: D. Graves. Edition number on lower left: AP. Housed in a gilded and black frame with an ecru mat. Sight size: 4"L x 5"H. Frame size: 14.75"L x 15.75"H x 2"W. Artist: Daniel Graves (American b. 1949)Issued: c. 1990Edition Number: Artist Proof Country of Origin: United StatesCondition: Age related wear.
Original etching on paper by Contemporary Realist and Founder and Director of The Florence Academy of Art Daniel Graves. This detailed miniature landscape represents a view of quaint farms set in the distance of a bridge. Signature in plate and in graphite on lower right: D. Graves. Edition number on lower left: AP 200. Housed in a gilded and black frame with an ecru mat. Sight size: 6.50"L x 3.50"H. Frame size: 17"L x 15"H x 2"W. Artist: Daniel Graves (American b. 1949)Issued: c. 1990Edition Number: Artist Proof of 200 Country of Origin: United StatesCondition: Age related wear. Minor wear on lower part of frame.
Winifred Austen (British school) - Making Off - an early 20th century drypoint etching on paper. The artwork depicting a stork taking off from amongst the lake reeds. Signed in pencil lower right, with the titled Making Off at the edge of the mount. Measures approx. 30cm x 23cm excluding mount.
Large original etching on paper by French Realist Claude Piechaud who focuses on the hulls of two decked boats that he made with extreme chiaroscuro. Signature in graphite on lower right: Claude Piechaud. Edition number on lower left: 17/300. Below plate: Phyllis Lucas. Paper sheet glued to a plasticized backing. Artist: Claude Piechaud (French 1928-2008)Issued: c. 1960Dimensions: 25"L x 29.75"HEdition Number: 17 of 300 Country of Origin: FranceCondition: Age related wear.
Large original etching on paper by French Realist Claude Piechaud who represents two fishing boats and maritime lights on a wooden dock. Signature in graphite on lower right: Claude Piechaud. Edition number on lower left: 8/300. Below plate: Phyllis Lucas. Paper glued to beige board backing. Etching dimensions: 30.50"L x 19.50"H. Mat size: 25"L x 30.75"H. Artist: Claude Piechaud (French 1928-2008)Issued: c. 1960Edition Number: 8 of 300 Country of Origin: FranceCondition: Age related wear.
Large original etching on laid paper that represents a Rhinoceros engraved with outstanding observational and realistic details. Signature in plate in ink on lower right: W. Thoman ? Edition number on lower right: 24/250. Issued: c. 1970Dimensions: 17"L x 19"HEdition Number: 24 of 250 Condition: Age related wear. Sporadic foxing on edges of plate.
Julian Trevelyan (British 1910-1988) "Avignon" Signed, titled and numbered 9/65 in pencil in the margin, etching with aquatint.50.5 x 37.5cm (framed 80.5 x 60.5cm)Artists’ Resale Right (“droit de suite”) may apply to this lot.The print is in very good, original condition. There are some minor spots of foxing, browning and undulations across the sheet. The print is framed and glazed. The frame has some minor scuffs and knocks commensurate with age.
Andrewes (George) A Dictionary of the Slang and Cant Languages: Ancient and Modern, hand-coloured linen-backed folding etching by George Cruikshank, trimmed, occasionally touching headline, evenly browned, later half-calf, a little rubbed, bumping to corners and extremities, small 8vo, [c.1809]. *** Scarce. Library Hub lists only one at the University of Cambridge, Trinity College. The author wrote this work so that thieves could be understood by the general public, he states that "one great misfortune to which the Public are liable, is, that Thieves have a language of their own; by which means they associate together in the streets, without fear of being over-heard or understood. "
Daniell (Thomas) and William Daniell. The Punj Mahalla Gate, Lucknow, from Oriental Scenery, etching and aquatint with full hand-colouring, an excellent impression on Whatman wove paper without watermark date, platemark 485 x 660 mm (19 x 26 in), sheet 525 x 705 mm (20 3/4 x 27 3/4 in), handling creases, minor surface dirt, unframed, [Abbey 420], published by the artist, 1801 Provenance: From the Collection of the Late W.G. and Mildred Archer; thence by descent. Literature: Archer, Mildred, Early Views of India, The Picturesque Journeys of Thomas and William Daniell 1786-1794, 1980, no. 62. *** July-October 1789. 'The plainness and simplicity of this edifice is more striking than the richness of its decorations; a circumstances seldom occurring in gateways belonging to Mahomedan princes. This gate leads to a palace erected by Nawaub Sujah ul Dowla'. [Archer, op. cit.]
Daniell (Thomas) and William Daniell. View Near Bangalore, from Antiquities of India, etching and aquatint with full hand-colouring, an excellent impression on Whatman wove paper without watermark date, platemark 490 x 650 mm (19 1/4 x 25 1/2 in), sheet 530 x 710 mm (20 7/8 x 28 in), minor surface dirt and faint spots, unframed, [Abbey 420, no. 68], published by the artist, 1808. Provenance: From the Collection of the Late W.G. and Mildred Archer; thence by descent. Literature: Archer, Mildred, Early Views of India, The Picturesque Journeys of Thomas and William Daniell 1786-1794, 1980, no. 101.
Daniell (Thomas) The Great Pagoda, Tanjore, from Oriental Scenery, etching and aquatint with full hand-colouring, an excellent impression on thick Whatman wove paper with watermark date of '1794', platemark 485 x 655 mm (19 x 25 3/4 in), sheet 535 x 740 mm (21 7/8 x 29 1/8 in), minor handling creases and small repaired nicks to edges, minor surface dirt, unframed, [Abbey 420, no. 50], published by the artist, 1798. Provenance: From the Collection of the Late W.G. and Mildred Archer; thence by descent. Literature: Archer, Mildred, Early Views of India, The Picturesque Journeys of Thomas and William Daniell 1786-1794, 1980, no. 125. *** September 1792. 'The Brihadisvara or Rajarajesvara Temple, which stands within a walled compound, was built about AD 1000. The tall pyramidal tower of the main shrine is covered with intricate sculpture and is topped by a massive domical capstone. [Archer, op. cit.]
*** Please note, the description of this lot has changed ***Daniell (Thomas) and William Daniell. Entrance to a Hindoo Temple, near Bangalore, from Oriental Scenery, etching and aquatint with full hand-colouring, an excellent impression on Whatman wove paper with watermark date '1850', platemark 490 x 650 mm (19 1/4 x 25 1/2 in), sheet 530 x 710 mm (20 7/8 x 28 in), minor surface dirt and faint spots, unframed, [Abbey 420, no. 69], published by the artist, 1850 or later. Provenance: From the Collection of the Late W.G. and Mildred Archer; thence by descent. Literature: Archer, Mildred, Early Views of India, The Picturesque Journeys of Thomas and William Daniell 1786-1794, 1980, no. 102.
HENRY WILKINSON (1921-2011). Hunting scene with horse and ridge jumping a fence, signed in pencil lower right, etching on paper, framed and glazed, 15 x 17 cm, together with 'In the style of Lucy Kemp Welch', a study of a cow in a moorland landscape, unsigned, watercolour, framed and glazed, 18 x 23 cm (2)
After Paul Cezanne (1839-1906) & Jacques Villon (1875-1963)- A framed and glazed etching - 'La Montage Sainte-Victoire'. Inscribed Cezanne Pinx - Jacques Villon. With Musee du Louvre blind stamp lower left. Signed in the print only. Plate size 43.5cm x 60.5cm. (Foxing to lower left and bottom margin, slipped in frame)
David Hockney (b.1937), The Princess after many years in the glass mountain - From 'Six Fairy Tales from the Brothers Grimm,' signed 'David Hockney', etching and aquatint on Hodgkinson paper, 41 x 29 cm, framed and glazed 57 x 45 cmSome foxing and discolouring of the paper throughout - not inspected out of the frame
William Lionel Wyllie (1851 - 1931), The Royal Air Force Memorial and the Houses of Parliament, signed in pencil 'W.L. Wyllie', etching, 29 x 16 cm, framed and glazed 51 x 38 cm; and another of barges on the Thames by St Pauls, signed in pencil 'W.L'. Wyllie' etching, 20 x 40.5 cm, framed and glazed 43 x 63 cmQty: 2Both prints are sealed in the frame and glazed - they have not been inspected out of the frame. Both have paper discoloured with age and some signs of slight foxing. St Paul's with a stain to the outside of the plate border. Lighter engraving to the background scenes on both.
David Hockney (b.1937), Inside the castle - From 'Six Fairy Tales from the Brothers Grimm,' signed 'David Hockney' and numbered '71/100 B', etching and aquatint on Hodgkinson paper, 36 x 29 cm, framed and glazed 52 x 45 cmPaper discoloured and foxed throughout - not inspected out of the frame - see images
David Hockney (b.1937), The Haunted Castle - From 'Six Fairy Tales from the Brothers Grimm,' signed 'David Hockney' and numbered '71/100 D', etching and aquatint on Hodgkinson paper, 41.5 x 27 cm, framed and glazed 57.5 x 43 cmPaper heavily discoloured and some foxing - not inspected out of the frame.
Anders Zorn (Swedish, 1860-1920). Etching on paper titled "Frightened" depicting three nude women walking down a hillside near a body of water, 1912. 2nd state printing. Pencil signed along the lower right. Signed and dated in plate along the lower left. Along the top center of the verso, the title and plate number are written in pencil.Reference:Karl Asplund, "Zorn's Engraved Work, Vol. 2" (Alan Wofsy Fine Arts: San Francisco, 1990), page 386, plate 248.Image; height: 7 3/4 in x width: 5 3/4 in. Sheet; height: 12 3/4 in x width: 10 in.Condition:The sheet is toned. There are two patches of skimming along the upper and lower edges. Light wear to the deckled edges. Pencil numbered 8915 along the lower margin. Pencil inscription along the upper edge of the verso. Piece of white tape affixed to the upper center edge of the verso, which is visible from the extreme edge of the recto. Pencil inscription along the lower right edge of the verso. The work is not framed
Henri Toussaint (French, 1849-1911) after Eugene Delacroix (French, 1798-1863). Etching on laid paper titled "The Coast of Morocco" depicting a boat being pulled ashore. The print is from Albert Wolff "Cent Chefs-d'Oeuvre: The Choice of French Private Galleries." Paris: Georges Petit and Ludovic Bashet, 1883. Distributed by Knoedler & Co., New York.Height: 12 1/2 in x width: 17 3/4 in.Condition:The sheet is slightly toned. There is wear along the edges. One loss along the lower left corner. One tear along the upper left edge. A few creases along the edges. The number 36 is written in pencil along the upper right corner. The work is not framed.
Anders Zorn (Swedish, 1860-1920). Etching on paper titled "Souvenir" or "The Guitar" depicting a nude woman sitting on a bed and playing a guitar, 1895. Pencil signed along the lower right. Signed and dated in plate along the lower right.References:Axel L. Romdahl, "Anders Zorn: Som Etsare" (Kulturhistoriska Forlaget, Stockholm, 1928) page 34, plate D.94, plate A.95.Karl Asplund, "Zorn's Engraved Work, Vol. 1" (Alan Wofsy Fine Arts: San Francisco, 1990), page 150, plate 95.Loys Delteil, "Anders Zorn" (Le Peintre-Graveur Illustre, Paris, 1909), plate 94.Image; height: 9 1/4 in x width: 6 1/4 in. Sheet; height: 7 in x width: 12 1/2 in. Matted; height: 16 1/2 in x width: 12 1/2 in.Condition:The sheet is unevenly toned. There are minute spots of foxing throughout. There is a long tear extending from the lower right edge upwards through the signature; the tear has been reinforced with clear scotch tape along the verso; the tear measures approx. 4 inches in length. The sheet has been trimmed along the lower edge; there is a small area along the lower right corner that was not trimmed; there is one small horizontal tear extending from that are towards the right edge. There is a crease along the upper left corner of the image measuring approx. 1.5 inches in length. There is a semi-circular loss along the upper right edge, visible in the lot listing. The left, right, and lower edges have been reinforced along the verso. There is light skimming to the extreme edges throughout. The sheet is hinged along the upper right and left corner and the upper center along the edge. Light soiling to the verso. The sheet is affixed to a matboard. Not framed.
Claude Faivre (French, 19th c.) after Rembrandt Harmenszoon Van Rijn (Dutch, 1606-1669). Etching on laid paper after work by Rembrandt titled "Head of a Man in a Felt Hat" depicting a portrait of a man all in black. Signed in plate by Faivre along the lower right. The print is from Albert Wolff "Cent Chefs-d'Oeuvre: The Choice of French Private Galleries." Paris: Georges Petit and Ludovic Bashet, 1883. Distributed by Knoedler & Co., New York.Height: 17 3/4 in x width: 12 1/2 in.Condition:There are no tears or losses. The sheet is toned. The number 88 is written in pencil along the upper right. Some small marks throughout. A few light handling marks/creases throughout. Light wear along the edges. Pencil inscribed "Rembrandt Head of a Man in a felt hat" along the verso. The work is not framed.
Anders Zorn (Swedish, 1860-1920). Etching on paper titled "Mr. and Mrs. Furstenberg," alternatively titled "Herr Och Fru Furstenberg," depicting an older couple side by side with the older man sitting, reading the paper, and smoking while the older woman is standing by his chair on the left, 1895. Either a 2nd or 3rd state printing. Pencil signed along the lower right. Signed and dated in plate along the lower right.References:Axel L. Romdahl, "Anders Zorn: Som Etsare" (Kulturhistoriska Forlaget, Stockholm, 1928) page 35, plate D.96, plate A.97.Karl Asplund, "Zorn's Engraved Work, Vol. 1" (Alan Wofsy Fine Arts: San Francisco, 1990), page 154, plate 97.Loys Delteil, "Anders Zorn" (Le Peintre-Graveur Illustre, Paris, 1909), plate 96.Image; height: 7 1/2 in x width: 10 1/2 in. Sheet; height: 14 1/4 in x width: 10 3/4 in.Condition:The sheet is toned. There are major areas of skimming along the margins. Discoloration and soiling throughout the margins and verso. There is a piece of white tape running along the upper edge of the recto. There is a paper patch along the upper right edge of the verso, corresponding to a repaired tear. Pencil inscribed "36x41" along the lower margin. Pencil inscription along the verso. The work is not framed.
Neil Welliver (American, 1929-2005). Color etching on paper depicting a portrait of Abraham Lincoln, 1994. Pencil signed, dated, number "AP" and inscribed "For the Catlins" along the lower margin. Originally created for a book of poems written by Henrik Ibsen.Provenance: Gift of the artist to Stanton L. Catlin, former director of the Center for Inter-American Relations; thence by descent.Image; height: 5 3/4 in x width: 4 3/4 in. Sheet; height: 11 1/2 in x width: 10 in.Condition:There are no tears, creases, or losses. There is an area across the extreme edge of the top margin that is discolored, possibly acidic burn. There are no signs of restoration under UV light. The work is not framed.
‡ ZAO WOU-KI 趙無極 (Chinese-French, 1920-2013) etching with aquatint - Composition I from Randonnées (Rambles), Ågerup 257, signed (in Pinyin and Chinese) and dated in pencil 74, unumbered, (pl) 24 x 18.5cmsProvenance: private collection MonmouthshireAuctioneer's Notes: This composition is the first of five created for the book Randonnées (Rambles) by Roger Caillois. It was printed by Atelier Bellini and published by Yves Rivière in 1974. There were also three artist’s proofs and 4 hors commerce (out of trade) impressions on Japan paper. A master of post-war art and among the highest-selling Chinese painters of his generation, Zao Wou-Ki synthesized tenets of modernism, calligraphy, and traditional Chinese landscape painting. Using primarily oil paint, watercolor, and eventually ink, Zao developed a unique style defined by contrasting colours, intense linework, and lyrical abstraction. Like traditional Chinese landscapes, Zao’s paintings function as fragments of larger scenes and possess a fluidity, transparency, and graceful luminosity that reflect the interior energies of the artist himself. Zao cited Paul Cezanne, Henri Matisse, and Pablo Picasso as early influences. In 1948, he moved to Paris, where he immersed himself in the city’s avant-garde scene and befriended artists including Alberto Giacometti, Joan Miro and Sam Francis. During his lifetime, Zao exhibited worldwide. He received the Japan Art Association’s Praemium Imperiale Award for Painting and the Ordre national de la Légion d’honneur. Today, his work can be found in the collections of the Louvre, Pomidou Centre, the Gudggenheim Museum, the Metropolitan Museum of Art, and the Tate.Literature: Ågerup, J. (1994). Zao Wou-Ki - The Graphic Work - A Catalogue Raisonné 1937-1995, Copenhagen: Heede & Moestrup.Comments: glazed ready to hang
Two 19th Century reverse prints to include: St Luke and The Affectionate Wife and two further prints - The Great Britain Steam Ship and an oval etching depicting possibly Irish Gentleman with Order to his neck (4) Further details: broken section lower right to St Luke, Irish etching damaged to upper section a/f
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