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Lot 16
Sara Lee Revisit AP, 2021 Japanese Woodcut on Paper Signed on front and verso 10 x 15cm (3¾ x 5¾ in.) Sara Lee predominantly works with drawing, intaglio and relief prints, including etching and Japanese woodcut in the ukiyo-e tradition, within a studio and site specific practice. Born in Wales in 1956, Sara lives and works in London. She graduated in Fine Art Painting from Ravensbourne in 1979 and went on to take an MA in Fine Art Printmaking at Central School graduating in 1982. She spent most of the following year traveling in the United States, visiting studios and collections, culminating in working for Jay Street Gallery and Studios in NYC. Sara Lee has been part of the fine art print community for more than two decades. Working within Hugh Stoneman's studio for more than ten years, together they developed a gravure practice and co-published, under the imprint Print Centre Publications, including works by Terry Frost RA, Ian McKeever RA and Hamish Fulton. Over the past seven years she has worked on etching and woodcut projects with Eileen Cooper RA, with whom she shares a print studio space and imprint Blackbird Editions. She presently teaches at the Dulwich Picture Gallery, has written for Tate, and advised on print processes for various individuals and institutions including The Art Fund and Tate. Key/ solo exhibitions 2019 Beckoning Lines, Rabley Gallery 2016 Isola (with Pru Ainslie & Meryl Setchell Ainslie), Rabley Drawing Centre 2014 Ley of the Land, Rabley Drawing Centre 2012 Peninsula, Stoneman Gallery, Penzance 2009 Confluence (with Eileen Cooper, Caroline Isgar, Fred Gatley, Annie Turner & Sarah Radstone), APT Gallery, London & Stoneman Gallery, Penzance
Lot 17
Sara Lee Path, 2021 Japanese Woodcut on Paper Signed on front and verso 10 x 15cm (3¾ x 5¾ in.) Sara Lee predominantly works with drawing, intaglio and relief prints, including etching and Japanese woodcut in the ukiyo-e tradition, within a studio and site specific practice. Born in Wales in 1956, Sara lives and works in London. She graduated in Fine Art Painting from Ravensbourne in 1979 and went on to take an MA in Fine Art Printmaking at Central School graduating in 1982. She spent most of the following year traveling in the United States, visiting studios and collections, culminating in working for Jay Street Gallery and Studios in NYC. Sara Lee has been part of the fine art print community for more than two decades. Working within Hugh Stoneman's studio for more than ten years, together they developed a gravure practice and co-published, under the imprint Print Centre Publications, including works by Terry Frost RA, Ian McKeever RA and Hamish Fulton. Over the past seven years she has worked on etching and woodcut projects with Eileen Cooper RA, with whom she shares a print studio space and imprint Blackbird Editions. She presently teaches at the Dulwich Picture Gallery, has written for Tate, and advised on print processes for various individuals and institutions including The Art Fund and Tate. Key/ solo exhibitions 2019 Beckoning Lines, Rabley Gallery 2016 Isola (with Pru Ainslie & Meryl Setchell Ainslie), Rabley Drawing Centre 2014 Ley of the Land, Rabley Drawing Centre 2012 Peninsula, Stoneman Gallery, Penzance 2009 Confluence (with Eileen Cooper, Caroline Isgar, Fred Gatley, Annie Turner & Sarah Radstone), APT Gallery, London & Stoneman Gallery, Penzance
Lot 362
Dasha Shishkin Pickle 1, 2021 Ink on Paper Signed on verso 10 x 15cm (3¾ x 5¾ in.) Education Parsons School of Design, NYC Columbia University Selected Exhibitions / Awards NYCbodylines, solo, Neues Museum, Nuremberg, Germany erry icket, solo, Museum of Contemporary Art, Santa Barbara, USA I Surrender, Dear, solo, Contemporary Arts Center, Cincinnati, USA Monanism, Museum of Old and New Art, Tasmania, Australia The More I Draw, Museum fur Gegenwartskunst, Siegen, Germany World Receiver, Hamburger Kunsthalle, Hamburg, Germany The Compulsive Line: Etching 1900 to Now, MoMA, New York, USA Greater New York 2005, PS1, New York, USA Gallery Representation Gio Marconi, Milan, Italy Vielmetter Los Angeles, LA, USA L21, Palma, Spain Nancy Littlejohn Fine Art, Houston, USA
Lot 363
Dasha Shishkin Pickle 3, 2021 Ink on Paper Signed on verso 10 x 15cm (3¾ x 5¾ in.) Education Parsons School of Design, NYC Columbia University Selected Exhibitions / Awards NYCbodylines, solo, Neues Museum, Nuremberg, Germany erry icket, solo, Museum of Contemporary Art, Santa Barbara, USA I Surrender, Dear, solo, Contemporary Arts Center, Cincinnati, USA Monanism, Museum of Old and New Art, Tasmania, Australia The More I Draw, Museum fur Gegenwartskunst, Siegen, Germany World Receiver, Hamburger Kunsthalle, Hamburg, Germany The Compulsive Line: Etching 1900 to Now, MoMA, New York, USA Greater New York 2005, PS1, New York, USA Gallery Representation Gio Marconi, Milan, Italy Vielmetter Los Angeles, LA, USA L21, Palma, Spain Nancy Littlejohn Fine Art, Houston, USA
Lot 364
Dasha Shishkin Pickle 4, 2021 Ink on Paper Signed on verso 15 x 10cm (5¾ x 3¾ in.) Education Parsons School of Design, NYC Columbia University Selected Exhibitions / Awards NYCbodylines, solo, Neues Museum, Nuremberg, Germany erry icket, solo, Museum of Contemporary Art, Santa Barbara, USA I Surrender, Dear, solo, Contemporary Arts Center, Cincinnati, USA Monanism, Museum of Old and New Art, Tasmania, Australia The More I Draw, Museum fur Gegenwartskunst, Siegen, Germany World Receiver, Hamburger Kunsthalle, Hamburg, Germany The Compulsive Line: Etching 1900 to Now, MoMA, New York, USA Greater New York 2005, PS1, New York, USA Gallery Representation Gio Marconi, Milan, Italy Vielmetter Los Angeles, LA, USA L21, Palma, Spain Nancy Littlejohn Fine Art, Houston, USA
Lot 365
Dasha Shishkin Pickle 5, 2021 Ink on Paper Signed on verso 10 x 15cm (3¾ x 5¾ in.) Education Parsons School of Design, NYC Columbia University Selected Exhibitions / Awards NYCbodylines, solo, Neues Museum, Nuremberg, Germany erry icket, solo, Museum of Contemporary Art, Santa Barbara, USA I Surrender, Dear, solo, Contemporary Arts Center, Cincinnati, USA Monanism, Museum of Old and New Art, Tasmania, Australia The More I Draw, Museum fur Gegenwartskunst, Siegen, Germany World Receiver, Hamburger Kunsthalle, Hamburg, Germany The Compulsive Line: Etching 1900 to Now, MoMA, New York, USA Greater New York 2005, PS1, New York, USA Gallery Representation Gio Marconi, Milan, Italy Vielmetter Los Angeles, LA, USA L21, Palma, Spain Nancy Littlejohn Fine Art, Houston, USA
Lot 365
William Holland (British 1757-1834): 'Lord Juicy Dandling His Angelic Child', hand-coloured etching pub. 1791, 34cm x 25cm; After Edward Hull (British 1810-1877): British Officers, pair modern overpainted prints; together with set five early 19th century hand-coloured engravings of British noblemen including Duke of Wellington pub. Thomas Kelly c.1815, max 26cm x 20cm (8)
Lot 83
Reformation.- Verstegan (Richard) Theatre des Cruautez des Heretiques de nostre temps, first French edition, 2 parts in 1, engraved pictorial title and 27 etched illustrations only (of 29, lacking K2 and K3), in first part F4 and G1 with marginal defects and F4 minor loss of text, in second part E2 and E3 horizontal whole page tears with paper restoration, some light browning, staining and finger soiling, later calf-backed boards, spine slightly chipped, [Adams T443], 4to, Antwerp, Adrien Hubert, 1588.⁂ A Catholic convert and Anglo-Dutch by descent in exile from the Reformation in Paris, Rome and Antwerp, Verstegan (or Rowlands as he is also known) was perhaps particularly well suited to feeling the upheavals and trauma caused by the Reformation in so many countries. Having already written on the suffering of priest back in England, this particular work, with its etching of torture scenes, was aimed at documenting the atrocities committed by certain different Protestant groups: 'the cruelties of the schismatics in England'; 'the horrible cruelties of the Huguenots in France'; 'the barbarous cruelties of the wretches in the Low Countries' and 'persecutions of the Catholics by the Machiavellist Protestants in England and Ireland'. The final etching in this martyrology is the execution of Mary Stuart, Queen of Scots, this shocking regicide then only a year past.
Lot 293
Collection of prints to include an abstract study of a head, etching, signed & dated 'M. Evans 1956' (no provenance); Francis Wells, Evening on Snowdon, aquatint etching blind-stamped 'Artists Proof'; View of Caernarvon Castle from Anglesea, aquatint etching by Wiliam Daniell, published by Longman, 1814, and others, including various late-20th century signed limited edition prints by Freda Ward; Brian Halton; W. M. Ireland; Raymond K. Boyes; J. Beddows; H. Carlisle; J. Baxter. Together with a watercolour of clowns, signed John Hill, 1983 (14)
Lot 300
Collection of eight signed limited edition etchings, 1980s, by Theo Humblet; Georges Wijnen; Kris Geniets; Roeland Kotsch; Annette De Bruyne; Simone Decre; Paul van Eyck; Baudouin Roelants. Average size 13cm by 9cm (plate-mark). Four framed, four unframed, each one with accompanying text information on etching/artist (8)
Lot 293
Joan Miro (1893-1983), A poem for Joan Miro, etching, inscribed 'epreuve d'essai pour Todd', signed and dated 1947 in pencil, 22cm by 17cm, with certificate from St. James's Art Books, London, together with a hardback edition of Dupin, Jacques, 'Miro Engraver vol.1 1928-1960, pub. 1984 - see pp 16-17 (ARR)
Lot 300
P Fourdrinier, J Muller and T Major after Borra, part of a panoramic view of Palmyra, engraving, taken from Wood, Robert, Les ruines de Palmyre, autre dite Tedmor au desert, 27cm by 53cm, De la Fosse, two engravings of pedestals, Poetes ou piedestaux pouvant servir a differens usages, largest 28.5cm by 38.5cm, W Monk, view of University College London main building, etching, signed in pencil, plate 18.5cm by 27.5cm, together with a facsimile album of lithographs depicting Athens, all unframed (a/f)
Lot 3508
Rembrandt, Harmensz van Rijn: (1606 Leiden - Amsterdam 1669). Christus unter den Schriftgelehrten. 1652. Radierung auf dünnem, feinem Bütten. Plattengröße 12,6 x 21,4 cm, meist mit Rändchen. New Hollstein 267 I (von II); Bartsch 65. An den vier Randbereichen fest auf dickem Bütten montiert; kleiner Eckabriss oben links; linker Rand teils knapp beschnitten; stärker stock-, feucht- und altersfleckig; gebräunt. - Trotz der Erhaltungsmängel guter Druck. - Christ among the scribes. Etching on thin fine laid paper, mounted on thick laid paper. Small damage on upper left corner, severely stained, browned. Nonetheless good print. D
Lot 3513
Rembrandt van Rijn, Harmensz.: (1606 Leiden - Amsterdam 1669). Die Flucht nach Ägypten - Übergang über einen Bach. Radierung auf dünnem Papier 1654. Plgr. 9,3 x 14,4 cm. Mit Rändchen unter Passep. mont. New Ho. 277. B. 55. W.-B. 55. Herrlicher Abdruck des einzigen Zustands - ob zeitgenössisch od. später lässt sich wegen des Papiers nicht bestimmen. - Gebrauchssp., sonst gut erhalten. - The flight to Egypt - crossing a stream. Etching on thin paper, under passepartout. Excellent print of the only state. Worn, otherwise good condition. D
Lot 3515
Rembrandt van Rijn, Harmensz: (1606 Leiden - Amsterdam 1669). Selbstbildnis mit erhobenem Säbel. Orig.-Radierung auf Bütten, 1634. Im li. Oberrand der Pl. sign. u. dat. Blgr. 12,8 x 10,7 cm, Plgr. 12,4 x 10,8 cm. Mit Rand um die Plattenkante. Bartsch 18. White/Boon 18 II (von II). New Hollstein 134 II (von 2). - Rembrandt zeigt sich in ehrfurchtgebietender Pose in einem Brokatgewand mit Hermelin-Kragen und bauschigem Barett, in seiner rechten Hand ein erhobenes malaiisches Kris, das von der Forschung häufig als Säbel benannt wird. Hier zeigt sich, wie gekonnt Rembrandt verschiedene Stofflichkeiten herausarbeiten kann. Durch eine technische Vielfalt in der Strichführung gelingt es ihm, das luftige Haar, den weichen Pelz, die bauschige Kopfbedeckung, das härtere Brokat u. den glatten Säbel fast greifbar zu machen. Das Gesicht zeigt einen ernsteren gereifteren Charakter u. obwohl die Augen auf den Betrachter gerichtet sind, blicken sie nachdenklich nach innen gerichtet. - Mit einem Mittelknick, wie häufig auch bei Vergleichsexemplaren Augen, Nase und Mund mit Tusche überarbeitet, mit minim. Abriss an der ob. re. Ecke. - Original etching on laid paper, signed and dated in plate. With margin around bordering line. Good print. With a central crease, eyes, nose and mouth lightly retouched with ink (as often on comparative copies), with small damage at the upper right corner. R
Lot 3517
Rembrandt van Rijn, Harmensz.: (1606 Leiden - Amsterdam 1669). Die Auferweckung des Lazarus - große Platte. Radierung auf Bütten, um 1632. Plgr. 36,6 x 25,8 cm. Mit kleinem Rändchen. Unter Passep. mont. New Ho. 213 VII/VIII (von IX). B. 73. W.-B. 73. Prachtvoller Abdruck des VII/VIII. Zustands, tlw. mit Überarbeitungen des VII., aber auch schon des VIII. Zustands. Unauffällige Quetschfalte, sonst gut erhalten. - Resurrection of Lazarus - big plate. Etching on laid paper. Mounted under passepartout. Excellent print of the 7th/8th condition, partly with revisions of both conditions. Good condition. D
Lot 3284
Lautensack, Hans Sebald: (1524 Bamberg - Wien 1563). Landschaft mit zwei Föhren u. einer Kirche re. im Vordergrund, li. eine Stadt mit Mühle u. Steinbrücke im Hintergrund. Radierung auf Bütten mit WZ "Zwei Türme" 1553. Blgr. 11 x 17 cm. Mit dem Monogr. u. Datum i.d. Platte. Knapp auf Einfassung geschn. B. 43. Ho. 32. Vgl. Rijksmuseum RP-P-OB-2601. Albertina Wien DG1933/79 (u. DG1933/80). - Leicht gebr. u. etw. fleckig, stellenw. etw. flau, verso Montiersp. Aus einer nicht identifizierten Slg. OV (Lugt 2008c). Selten. - Landscape with two pine trees and a church. Etching on laid paper. Slightly browned and somewhat stained, partly somewhat weak. Rare. D
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71174 item(s)/page