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Lot 298

Rembrandt Harmensz. van Rijn (1606-1669)The Flight into Egypt: A Night PieceEtching with drypoint, 1651, a very fine impression of New Hollstein's sixth state (of nine), printing with tone on and around the head of the donkey, Joseph's hands and Mary, on laid paper with partial indistinct watermark, sheet 128 x 111 mm (5 x 4 3/8 in), trimmed to or just within the platemark, expertly inset at edges into conservation window mount (unframed)Literature:Bartsch 53; New Hollstein 262 vi/ix

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Lot 223

Pablo Picasso (1881-1973) Peintre and modèle (Bloch 1131; Cramer 127) Etching, 1963-64, signed in pencil, numbered from the edition of 150, as included in 'Les Dames de Mougins', printed by Atelier Crommelynck, published by Éditions Cercle d'Art, Paris, on Auvergne Richard-de-Bas wove paper, with margins, sheet 302 x 285mm (11 7/8 x 11 1/8in)

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Lot 281

Rembrandt Harmensz. van Rijn (1606-1669)Joseph and Potiphar's WifeEtching, 1634, but a later impression of New Hollstein's third state (of four), printing with faint plate tone on cream laid paper without watermark, sheet 92 x 115 mm (3 5/8 x 4 1/2 in), trimmed to or just within the platemark, minor nicks and careful repairs with support to lower corners verso (unframed)Literature:Bartsch 39; New Hollstein 128 iii/iv

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Lot 278

Rembrandt Harmensz. van Rijn (1606-1669)Self-Portrait with SaskiaEtching, 1636, but a later impression of New Hollstein's third state (of four), printing with plate tone on cream laid paper without watermark, 106 x 96 mm (4 1/8 x 3 3/4 in), thread margins or trimmed up to platermark, minor nick to upper left corner, thinning visible verso to lower right corner, minor surface dirt (unframed)Literature:Bartsch 19; New Hollstein 158 iii/iv

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Lot 222

Pablo Picasso (1881-1973)Circus Scene with Horse's Head, Woman Dressing and Clown, from 156 Gravures (Baer 2000)Etching, 1971, with the artist's signature stamp, numbered from the edition of 50, on BFK Rives wove paper, published by Galerie Louise Leiris, Paris, with full margins, sheet 440 x 568mm (17 1/4 x 22 1/4in)

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Lot 314

Rembrandt Harmensz. van Rijn (1606-1669)Woman Bathing her Feet at a BrookEtching, 1658, but a later likely 18th century impression of New Hollstein's second state (of two), printing with plate tone on laid paper without watermark, platemark 158 x 79 mm (6 1/4 x 3 1/8 in), sheet 173 x 97 mm (6 7/8 x 3 7/8 in), some wear showing in the plate, scattered spotting and surface dirt (unframed)Literature:Bartsch 200; New Hollstein 309 ii/ii 

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Lot 14

Bill Jacklin (b.1943)Bathers III, from Coney Island SuiteEtching with aquatint printed in colours, 1992, signed and dated in pencil, numbered from the edition of 30, printed by Branstead Studio, with their blindstamp, on wove paper, with full margins, sheet 570 x 660mm (22 1/2 x 26in)

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Lot 195

Jean-François Millet (1814-1875)Les Becheurs (Delteil 13)Etching, circa 1855, fourth state, on tissue-thin Japan paper, with wide margins, sheet 254 x 385mm (10 3/8 x 15 1/4in)

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Lot 305

Rembrandt Harmensz. van Rijn (1606-1669)Christ at Emmaus: the Larger PlateEtching with drypoint and engraving, 1654, a good but later impression of New Hollstein's fourth state (of five), printing with only the first signs of wear to the cross-hatching by Christ's feet but before final reworking, on fine laid paper without watermark, sheet 212 x 164 mm (8 3/8 x 6 3/8 in), trimmed to or just within the platemark, some spotting and even toning, careful repairs to perforations near Christ's halo, small repaired nick to the centre left (unframed)Literature:Bartsch 87; New Hollstein 283 iv/v

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Lot 249

James Abbott McNeill Whistler (1834-1903)BillingsgateEtching and drypoint, 1859, a good impression of MacDonald's final state (of 9), printing with plate tone Arches laid paper, platemark 150 x 225 mm (5 7/8 x 8 7/8 in), sheet 215 x 308 mm (8 1/212 1/8 in) (unframed)Literature:Kennedy 47; MacDonald 51 ix/ix

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Lot 291

Rembrandt Harmensz. van Rijn (1606-1669)The Descent from the Cross: Second Plate [sixth state]Etching and engraving, 1633, but a later impression of New Hollstein's sixth state (of eight), printing before Lamoureux's address in the lower right corner, with heavy wear in the plate, on laid paper fully affixed onto card support, sheet 541 x 424 mm (21 3/8 x 16 3/4 in), several old repairs to nicks and tears, mainly extremities, conservation to old horizontal creases (unframed)Literature:Bartsch 81; New Hollstein 119 vi/viii

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Lot 146

Salvador DaIí (1904-1989)Lady Godiva (Field 69-6; M&L 337)Drypoint with etching, 1969, signed in pencil, numbered from the edition of 125, published by Jean Schneider and Editions Empreinte, Basel, with their blindstamp, on Japon nacré paper, with full margins, sheet 774 x 565mm (30 1/2 x 22 1/4in)

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Lot 284

Rembrandt Harmensz. van Rijn (1606-1669)Bald Headed Man in Profile Right: the Artist's Father (?)Etching and drypoint, 1630, a good impression of New Hollstein's final state (of five), on laid paper without watermark, platemark 69 x 57 mm (2 5/8 x 2 1/4 in), sheet 80 x 64 mm (3 1/4 x 2 1/2 in), showing some signs of wear in the heavily cross hatched areas, some spotting and surface dirt, careful repair in the upper left corner (unframed)Literature:Bartsch 292; New Hollstein 62 v/v

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Lot 303

Rembrandt Harmensz. van Rijn (1606-1669)The Ringball Player ["The Golf Player" or "Het Klosbaantje"]Etching, 1654, a good but later impression of New Hollstein's second state (of two), with the gaps shaded out, but only showing faint signs of rust in the upper left quadrant, on ivory laid paper without watermark, platemark 95 x 142 mm (3 3/4 x 5 5/8 in), sheet 104 x 154 mm (4 1/8 x 6 in), pencil number '121' in the lower left corner margin (unframed)Literature:Bartsch 125; New Hollstein 282 ii/ii

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Lot 307

Rembrandt van Rijn (1606-1669)Beggars Receiving Alms at the Door of a HouseEtching and drypoint, 1648, a good bold but later impression of the fifth state (of five) on laid paper without watermark, platemark 163 x 127 mm (6 3/8 x 5 in), sheet 184 x 142 mm (6 1/2 x 5 1/8 in), sheet 169 x 134 mm (7 1/4 x 5 1/4 in) (unframed)Literature:Bartsch 176; New Hollstein 243 v/v

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Lot 286

Rembrandt Harmensz. van Rijn (1606-1669)The Landscape with the CowEtching and drypoint, circa 1650, but a later impression of New Hollstein's third state (of five), printing with plate tone on cream wove paper without watermark, platemark 105 x 130 mm (4 1/8 x 5 1/8 in), sheet 107 x 132 mm (4 1/4 x 5 1/4 in), minor surface dirt (unframed)Literature:Bartsch 237; New Hollstein 251 iii/v 

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Lot 306

Rembrandt Harmensz. van Rijn (1606-1669)The Circumcision in the StableEtching, 1654, a good but later impression of New Hollstein's fourth state (of five), on laid paper without watermark, platemark 94 x 144 mm (3 3/4 x 5 5/8 in), sheet 104 x 152 mm (4 1/8 x 6 in), spotting and minor browning (unframed)Provenance:Raffaele Alianello (Lugt 5k)Literature:Bartsch 47; New Hollstein 280 iv/v 

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Lot 288

Rembrandt Harmensz. van Rijn (1606-1669)Bust of a Man wearing a high cap, three-quarters right: the Artist’s Father (?)Etching, 1630, a good but later impression of New Hollstein's fifth/sixth state (of six), on laid paper without watermark, platemark 103 x 85 mm (4 1/8 x 3 1/4 in), sheet 106 x 87 mm (4 1/8 x 3 3/8 in), showing some signs of wear in the heavily cross hatched areas, repair to the upper left and two lower corners, surface dirt (unframed)Literature:Bartsch 321; New Hollstein 57 v/vi

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Lot 290

Rembrandt Harmensz. van Rijn (1606-1669)The Descent from the Cross: Second Plate [eighth state]Etching and engraving, 1633, but a later Basan impression of New Hollstein's eighth state (of eight) on chine collé and thick wove paper, with Lamoureux's address printing in the lower right corner, platemark 533 x 406 mm (21 3/4 x 16 in), sheet 570 x 455 mm (22 1/2 x 17 7/8in), handling creases, spotting and surface dirt (unframed)Literature:Bartsch 81; New Hollstein 119 viii/viii

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Lot 311

Rembrandt van Rijn (1606-1669)Sheet of Studies: Beggar Couple, Head of an Old Woman (fragment)Etching, with traces of drypoint, circa 1632, a good impression, albeit a fragment, of New Hollstein's second state with the foul biting removed, on laid paper without watermark, sheet 75 x 47 mm (2 7/8 x 1 7/8 in), small loss to the upper left corner, scraping verso with minor cockling to the sheet (unframed) Literature:Bartsch 363; New Hollstein 115 ii/ii

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Lot 91

Paula Rego (1935-2022)Ride a Cock-Horse, from Nursery Rhymes (Rosenthal 42)Etching with aquatint extensively handcoloured in watercolour, 1989, signed numbered and inscribed A/P in pencil, one of 14 artist’s proofs, aside from the edition of 50, printed by Culford Press, with their blindstamp, published by Marlborough Graphics, London, on wove paper, with full margins, sheet 515 x 380mm (20 1/415in)

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Lot 224

Pablo Picasso (1881-1973) after.Famille des SaltimbanquesEtching with chine collé, circa 1950, signed in red crayon, numbered from the edition of 300, printed and published by Atelier Crommelynck, Paris, and with their blindstamp, on Japan paper, with full margins, sheet 765 x 560mm (30 1/4 x 22 1/4in)

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Lot 282

Rembrandt Harmensz. van Rijn (1606-1669)The Tribute MoneyEtching, circa 1635, a good clear impression of New Hollstein's first state (of four), some minor signs of wear in the plate, but before any re-work, on thin laid paper without watermark, sheet 74 x 102 mm (2 7/8 x 4 in), minor touches of red chalk recto and verso, small touch of black ink to one area of cross-hatching, minor repair to centre left edge (unframed)Literature:Bartsch 68; New Hollstein 138 i/iv

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Lot 142

Salvador Dalí (1904-1989) Le Jugement de Paris, from Mythologie (Field 63-3I; M&L 123b)Drypoint with etching and heliogravure printed in colours, signed in pencil, numbered from the edition of 20 in roman numerals, printed by Pierre Argillet, published by Robbe, Paris, on Japan paper, with full margins, sheet 763 x 564mm (30 x 22 1/4in)

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Lot 299

Rembrandt Harmensz. van Rijn (1606-1669) The Raising of Lazarus: The Larger Plate Etching and engraving, circa 1632, but a later impression of New Hollstein's seventh/eighth state (of nine), on very thin Japan-like buff tissue or chiné, platemark 368 x 257 mm (14 1/2 x 10 1/8 in), sheet 377 x 263 mm (14 3/4 x 10 3/8 in), tipped onto paper support, some marginal nicks and tears where the tipped on sections have been lifted up, overall toning and some browning, minor surface dirt (unframed)Literature: Bartsch 73; New Hollstein 113 vii-viii/ix

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Lot 160

Salvador Dalí (1904-1989)Pêcheur Penitant, from FlorDalí (Field 69-11E; M&L 348c)Etching and lithograph printed in colours, 1969, signed and dated in pencil, numbered from the edition of 200, printed by Ateliers Rigal & Matthieu, Paris, published by Werbungs- und Commerz Union Anstalt, on BFK Rives paper, with full margins, sheet 740 x 543mm (29 1/8 x 21 3/8in)

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Lot 251

Francisco de Goya (1746-1828)El de la rollona (Nanny's boy), plate 4 from the series: Los CaprichosEtching and aquatint, 1799, an excellent impression of the first edition, on laid paper without watermark, platemark 207 x 150 mm (8 1/8 x 5 7/8 in), sheet 315 x 200 mm (12 3/8 x 7 7/8 in), a few marginal repairs and surface dirt (unframed)Literature:Harris 39 III.1 

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Lot 138

Marc Chagall (1887-1985)Lot and His Daughters, from Bible (Cramer 30)Etching hand-finished with watercolour, 1958, initialled in pencil, numbered from the edition of 100, printed by Raymond Haasen, published by Teriade, Paris, on Arches paper, with full margins, sheet 520 x 387mm (20 1/4 x 15 1/4in)

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Lot 237

Camille Pissarro (1830-1903)Vachère au Bord de L'Eau (Delteil 93)Etching with drypoint, 1890, the eighth and final state, published by Gazette des Beaux-Arts, Paris, on laid paper, with wide margins, sheet 270 x 185mm (10 5/8 x 7 1/8in)

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Lot 279

Rembrandt Harmensz. van Rijn (1606-1669)Self-Portrait with Feathered Cap and PlumeEtching, circa 1638, but a later impression of New Hollstein's third state (of four), printing with plate tone on laid paper without watermark, platemark 134 x 104 mm (5 1/4 x 4 1/8 in), sheet 136 x 105 mm (5 3/8 x 4 1/8 in), thread margins, faint diagonal crease (unframed)Literature:Bartsch 20; New Hollstein 170 iii/iv

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Lot 252

Francisco Goya (1746-1828) Ni asi la distingue, plate 7 from "Los Caprichos" Etching and aquatint, circa 1799, a good impression of the first edition, Harris's first state on cream laid paper without watermark, platemark 197 x 147 mm (7 3/4 x 5 3/4 in), sheet 300 x 215 mm (11 3/4 x 8 1/2 in), good margins, small crease to lower left corner but well outside the image, minor spotting (unframed) Literature: Delteil 44, Harris 42

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Lot 214

Pablo Picasso (1881-1973)Femme vue de Dos (Bloch 822)The original copper plate for the etching, 1956, printed by Atelier André Moret, Paris, overall 380 x 280mm (15 x 11in)The etching appeared in Témoignage, by Jean Cocteau, as an homage to Pablo Picasso on the occasion of his seventy-fifth birthday.

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Lot 144

Salvador Dalí (1904-1989) Les Chevaux Bleus (Field 66-1; M&L 142b)Drypoint with etching and extensive hand-colouring, signed in pencil, numbered from the edition of 50 in roman numerals, printed and publised by Pierre Argillet, Paris, with the Dalí blindstamp, on Japan paper, with full margins, sheet 653 x 511mm (25 5/8 x 20 1/8in)

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Lot 302

Rembrandt Harmensz. van Rijn (1606-1669)Christ Disputing with the DoctorsEtching, 1654, a good but slightly later impression of New Hollstein's only state showing minor signs of wear, printing with plate tone on thin laid paper without watermark, platemark 96 x 144 mm (3 3/4 x 5 5/8 in), sheet 104 x 152 mm (4 1/8 x 6 in), faint exposure lines within the margin, small rust spot within the upper centre blank area (unframed)Literature:Bartsch 64; New Hollstein 281 i/i

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Lot 15

Augustus John (1878-1961) The Serving Maid (Campbell Dodgson 41) Etching, 1906, signed in pencil, fifth state, the edition was 25, on laid paper, with full margins, sheet 306 x 272mm (14 1/8 x 10 3/4in) 

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Lot 143

Salvador Dalí (1904-1989) Sainte Anne (Field 65-3; M&L 132)Drypoint with etching, heliogravure and extensive hand-colouring, signed in pencil, numbered from the edition of 100 in roman numerals, printed by Pierre Argillet, published by Robbe, Paris, with the Dalí blindstamp, on Japan paper, with full margins, sheet 765 x 570mm (30 1/8 x 22 3/8in)

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Lot 301

Rembrandt Harmensz. van Rijn (1606-1669) Christ and the Woman of Samaria among Ruins Etching, 1654, but a later impression of New Hollstein's third state (of five), printing with plate tone on cream laid paper without watermark, some wear in the densely cross-hatched areas, platemark 120 x 103 mm (4 3/4 x 4 1/8 in), sheet 125 x 110 mm (4 7/8 x 4 1/4 in), minor surface dirt (unframed) Literature: Bartsch 71; New Hollstein 127

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Lot 208

Pablo Picasso (1881-1973)Peintre devant son Tableau, from Le Chef d’Oeuvre Inconnu (Bloch 92; Baer 133)Etching, 1927, signed and numbered in bistre, from the edition of 99, printed by Louis Fort, Paris, with their blindstamp, published by Ambrose Vollard, Paris, on Van Gelder Zonen wove paper, with full margins, sheet 505 x 380mm (19 3/4 x 15in)

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Lot 158

Salvador Dalí (1904-1989) Sainte Trinité, Sainte Persistance de la mémoire, from Dix recettes d'immortalité (Field 73-20H; M&L 574a)Drypoint with etching and heliogravure printed in colours, 1973, signed in pencil, numbered from the edition of 10, as included in the portfolio Dix Recettes D'Immortalité, printed by Ateliers Rigal, published by Audouin-Descharnes, Paris, with the 1973 authentication inkstamp verso, on Japan paper, with wide margins, sheet 563 x 380mm (22 1/8 x 14 7/8in)

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Lot 161

Salvador Dalí (1904-1989)Reverence de Grosillier, from FlorDalí (Field 69-11J; M&L 353c)Etching and lithograph printed in colours, 1969, signed in pencil, numbered from the edition of 200, printed by Ateliers Rigal & Matthieu, Paris, published by Werbungs- und Commerz Union Anstalt, on BFK Rives paper, with full margins, sheet 746 x 546mm (29 3/8 x 21 1/2in)

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Lot 238

Odilon Redon (1840-1916)Saint Thérèse (Le Livre) (Mellerio 24)Etching with drypoint, 1892, from the edition of 20, on laid paper, with full margins, sheet 323 x 253mm (12 3/4 x 10in)

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Lot 209

Pablo Picasso (1881-1973)Scène Bachique au Minotaure (Bloch 192) Etching, 1933, signed in pencil, from the total edition of 310, published by Ambrose Vollard, Paris, on Montval laid paper with the Vollard watermark, with full margins, sheet 335 x 446mm (13 1/4 x 17 1/2in)

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Lot 289

Rembrandt Harmensz. van Rijn (1606-1669)Christ before Pilate: Large PlateEtching with drypoint and engraving, circa 1635-1636, a good lifetime impression of New Hollstein's fourth state (of five), printing with much depth, on laid paper with watermark of Strasbourg Lily with slightly indistinct '4' below [see Hinterding's watermark A.c., datable to 1655], sheet 537 x 439 mm (21 1/8 x 17 1/4 in), trimmed within the platemark, several expert careful repairs to minor losses, some restored with careful pen facsimile, notably the edge of the step to the lower centre, edges reinforced verso with very fine tissue, drying crease and other old folds with careful support verso (unframed) Literature:Bartsch 77; New Hollstein 155 iv/v

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Lot 297

Rembrandt Harmensz. van Rijn (1606-1669)The Baptism of the EunuchEtching, 1641, but a later impression of New Hollstein's third state (of four), on cream laid paper without watermark, sheet 192 x 222 mm (7 1/2 x 8 3/4 in), trimmed to or within the platemark but edges expertly re-margined, minor surface dirt (unframed)Literature:Bartsch 98; New Hollstein 186 iii/iv

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Lot 74

Leon Kossoff (1926-2019)Booking HallEtching, 1982, signed, titled and dated in pencil, numbered from the edition of 100, printed by Studio Prints, published by Bernard Jacobson Gallery, London, on TH Saunders wove paper, with full margins, sheet 412 x 356mm (16 1/4 x 14in)

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Lot 58

David Hockney (b.1937)The Church Tower and the Clock, from Illustrations for Six Fairy Tales from the Brothers Grimm (MCA Tokyo 76) Etching with aquatint, 1969, signed in pencil, numbered from the edition of 100, printed by The Print Shop, Amsterdam, published by Petersburg Press, London, on Hodgkinson watermarked paper, the sheet printed to the edges, each 444 x 397mm (17 3/8 x 15 5/8in)

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Lot 156

Salvador Dalí (1904-1989) Saint Julien-le-Pauvre (Field 73-10; M&L 460)Drypoint with etching with hand-colouring, signed in pencil, numbered from the edition of 100 in roman numerals, printed by Editions Argillet, Paris, with the Dalí blindstamp, on Japan paper, with full margins, sheet 655 x 505mm (25 3/4 x 19 7/8in)

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Lot 310

Rembrandt van Rijn (1606-1669) Three Heads of Women, One Asleep Etching, 1637, a later impression of New Hollstein's third state (of three) on thin laid paper without watermark, slightly slipped impression, platemark 142 x 95 mm (5 5/8 x 3 3/4 in), sheet 157 x 107 mm (6 1/8 x 4 in) (unframed) Literature: Bartsch 368; New Hollstein 161 iii/iii

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Lot 132

Paul Cézanne (1839-1906)Guillaumin au Pendu (Cherpin 2)Three impressions of the etching, 1873, from the posthumous edition printed after 1906, on laid paper, with full margins, each sheet 250 x 165mm (9 7/8 x 6 ½ in)  

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Lot 295

Rembrandt Harmensz. van Rijn (1606-1669)Beggar with a Wooden LegEtching, circa 1630, but a later impression of New Hollstein's third state (of four), showing signs of wear in the densely hatched areas printing with plate tone on laid paper, platemark 104 x 65 mm (4 1/8 x 2 1/2 in), sheet 117 x 71 mm (4 5/8 x 2 3/4 in), minor surface dirt (unframed)Literature:Bartsch 179; New Hollstein 49 iii/iv

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Lot 300

Rembrandt Harmensz. van Rijn (1606-1669)Jews in the SynagogueEtching with drypoint, 1648, but a later impression of New Hollstein’s final state of nine, on thin laid paper without watermark, platemark 71 x 128 mm (2 3/4 x 5 in), sheet 82 x 137 mm (3 1/4 x 5 3/8 in) (unframed)Literature:Bartsch 126; New Hollstein 242 viii/ix

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Lot 129

Georges Braque (1882-1963) after.Le Nid Vert Etching and aquatint printed in colours, 1950, signed in pencil and numbered from the edition of 300, on BFK Rives paper, and printed by Atelier Crommelynck with their blindstamp, published by Maeght, Paris, with full margins, sheet 380 x 497mm (15 x 19 1/2in)

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Lot 60

David Hockney (b.1937)Beautiful and White Flowers, from Illustrations for Fourteen Poems from C. P. Cavafy (MCA Tokyo 58) Etching with aquatint, 1966, signed and dated in pencil, numbered from the edition of 75, published by Editions Alecto, London, on Crisbrook handmade wove paper, with full margins, sheet 569 x 397mm (22 3/8 x 15 5/8in)

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Auktionshaus im Kinsky
Lot 1044

Werner BergVerschneiter Park1929etching on paper; framed34.8 x 9.9 cm (plate size), 51 x 37 cm (sheet size)signed underneath the depiction on the right: Werner Berginscribed and dated on the lower right: Pbd. / (1929)

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Auktionshaus im Kinsky
Lot 1301

Arnulf RainerHeuhaufen1967drypoint etching on zinc; unframed41.7 x 29.7 cm (depiction)64.5 x 49.8 cm (sheet size)handwritten numbered and signed at the bottom: 45/50 Raineredition: 50 piecesOtto Breicha, Arnulf Rainer. Überdeckungen, Mit einem Werkkatalog sämtlicher Radierungen, Lithographien und Siebdrucke 1950-1971. Vienna 1972, no. R70, ill. p. 38.

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Auktionshaus im Kinsky
Lot 1224

Martha JungwirthAm Affenfelsen1991etching; unframed30 x 24 cm (depiction)65.5 x 50 cm (sheet size)handwritten numbered, signed and dated at the bottom: 27/70 Martha Jungwirth 91

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Auktionshaus im Kinsky
Lot 1192

Alfred HrdlickaInsulin1968bronzeh. 72 cmmonogrammed and with foundry stamp: A.H. Guss A. Zöttl WienThe figure depicted is modelled on a particular experience. It is the same figure that appears in Hrdlicka's paraphrase of Rembrandt's "The Night Watch" (etching cycle "Randolectil").Michael Lewin, Alfred Hrdlicka - Das Gesamtwerk Bildhauerei. Vienna - Zurich 1987, ill. p. 178-179.Christine Wippermann (ed.), Österreich Bilder. Malerei und Grafik von 1960 bis 1995 aus der Sammlung Brunner, exhibition catalogue, Galerie Markt Bruckmühl, Bruckmühl, 20 June to 19 July 1998, ill. without p.

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Bloomfield Auctions
Lot 227

BLACK FRAMED ETCHING OF CHRIST

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Roseberys London
Lot 14

Alfred Cohen, American/British 1920-2001 - Flowers; ink and watercolour on paper, signed lower right 'Alfred Cohen', 25 x 20 cm: together with another etching on paper by the same artist 'Jack', 10 x 7.5 cm (2) (ARR) Provenance: the Collection of Bernard Sheridan (1927-2007) and thence by descent 

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Roseberys London
Lot 63

David Oxtoby, British b.1938 - Ziggy, 1974; etching in colours on paper, signed, titled, dated and numbered along lower edge 'David J G Oxtoby Ziggy 74 24/50', image: 21.7 x 13.9 cm: together with 2 etchings by the same artist of Elvis 60/100 and Jagger 17/50 (3) (ARR) Provenance: the Collection of Paul Clarke and thence by descent 

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