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Click here to subscribePercy Robertson (1868-1934), St James's Palace, c.1914, etching, signed in pencil, 14 x 18cm, unframed, William Walcot (1874-1943), St. Mary Le Strand, etching, signed, unframed, Walter Henry Sweet (1889-1943), Lynmouth and another, etchings, signed, Fine Art Trade Guild blind stamps, both framed, (4)Walcott measurement 13 x 18cm
Pablo Ruiz Picasso (Malaga, 1881 - Mougins, 1973) "Portrait d'une bourgeoise Hollandaise coiffée d'un bégun" (Portrait of a bourgois Dutch woman wearing a bonnet) Suite 347. Drypoint etching. Signed in pencil and numbered 49/50. Facsimile signature on the back: '10.8.68.III'. Sheet measurements: 32,6 x 25 cm. Print measurements: 12 x 9,2 cm. Printed by Aldo and Piero Crommelynck and published by Galerie Louise Leiris, Paris. Bibliographic references: Baer 1986-96 / "Picasso Peintre-Graveur". Bloch 1974-9 / "Pablo Picasso, Catalogue de l'oeuvre gravé et lithographié"
Hughes (Philip) Tracks, number 11 of 30 specially bound copies signed by the author, containing an original signed hand-tinted etching by Philip Hughes, colour illustrations and maps, original cloth with mounted colour illustration, presentation slipcase, cloth with mounted printed label, original tissue wrapper, contained within original cardboard box with label to front, overall fine, 4to, 2012.
Sir Terry FROST (1915-2003)Untitled, circa 1980sMixed media collage 27.5 x 20cmProvenance - Wills Lane Gallery, St IvesNote from the vendor - "This was bought from Gillie, Wills Lane Gallery. Well, actually from his wife Joan! Those of you who knew Gillie, remember how difficult it was to actually get him to sell - he would always say, ‘Come back this afternoon' - but the gallery remained closed. On this occasion, Joan happened to be there and we left together. She suggested I came to the house later, and she would sell it to me! this I did, and also saw her collection of tea canisters. I asked Gillie why it was unsigned - and he simply said it had come from an informal exhibition, and knowing Terry would value the support, he bought various works, including this collage - he hadn’t thought or worried about a signature at the time." From the collection of Ron Howell."I was introduced to Terry by Allan Freer who had commissioned various things from him during his time with Manchester Education Committee - some of the works are illustrated in the Lewis book. After the initial meeting, we became good friends and I visited Terry and Kath three or four times a year in Newlyn. But we also met in Venice, where I worked regularly, and Terry has a show at the Multigrafia Gallery and the year before his death, they came to the Aldeburgh Festival. The etching ‘On the Edge’ was made for that visit. During that visit, Terry said that he had always wanted to design an opera, and I was able to help him fulfill that with the commission for Opera East’s production of Britten’s ‘Rape of Lucretia’. Unfortunately, Terry was unable to see the production, and although I had it filmed, the editing only finished after his death. The etching ‘Blue Vertical’ came from this commission, and the ‘Spiral for Aldeburgh’ was used at his funeral, with one of his poems printed verso. In 2005, ‘Blue Drowning’, based on Terry’s lost painting Drowning Blue, was performed by the Scottish Strings at the Aldeburgh Festival. This I commissioned from John Woolrich to celebrate the lives of Terry and Kath, and our friendship and collaborations."
Sir Terry FROST (1915-2003)Midnight Blue and BlackOil on canvasSigned, inscribed and dated Aug '59 to verso63 x 76cm"Terry talks about this in his Desert Island Discs programme 1998, but he is also quoted in the ‘Painting in the ’80’s’ leaflet for the University of Reading show, of the impact of the snow and winter moonlight in Yorkshire ....Terry also said this was shown in the Waddington Galleries exhibition in 1961" Ron HowellFrom the collection of Ron Howell."I was introduced to Terry by Allan Freer who had commissioned various things from him during his time with Manchester Education Committee - some of the works are illustrated in the Lewis book. After the initial meeting, we became good friends and I visited Terry and Kath three or four times a year in Newlyn. But we also met in Venice, where I worked regularly, and Terry has a show at the Multigrafia Gallery and the year before his death, they came to the Aldeburgh Festival. The etching ‘On the Edge’ was made for that visit. During that visit, Terry said that he had ,always wanted to design an opera, and I was able to help him fulfil that with the commission for Opera East’s production of Britten’s ‘Rape of Lucretia’. Unfortunately Terry was unable to see the production, and although I had it filmed, the editing only finished after his death.The etching ‘Blue Vertical’ came from this commission, and the ‘Spiral for Aldeburgh’ was used at his funeral, with one of his poems printed verso. In 2005, ‘Blue Drowning’ , based on Terry’s lost painting Drowning Blue, was performed by the Scottish Strings at the Aldeburgh Festival. This I commissioned from John Woolrich to celebrate the lives of Terry and Kath, and our friendship and collaborations.This important early oil is in good original condition, but it is not perfect, there is a very slight abrasion of the surface to the left of the left-hand blue paint stroke.Otherwise, it might benefit from the lightest of cleans
Sir Terry FROST (1915-2003)Black, Red and White CirclesMobile (damaged)Signed'This was bought from Jonathan Grimble on the way to Terry. He scratched his signature on the top hanging bar - remarking that this was the first he had ever signed, and the first he had seen for many years. It was made by a young jeweller for the RA shop.'From the collection of Ron Howell."I was introduced to Terry by Allan Freer who had commissioned various things from him during his time with Manchester Education Committee - some of the works are illustrated in the Lewis book. After the initial meeting, we became good friends and I visited Terry and Kath three or four times a year in Newlyn. But we also met in Venice, where I worked regularly, and Terry has a show at the Multigrafia Gallery and the year before his death, they came to the Aldeburgh Festival. The etching ‘On the Edge’ was made for that visit. During that visit, Terry said that he had always wanted to design an opera, and I was able to help him fulfill that with the commission for Opera East’s production of Britten’s ‘Rape of Lucretia’. Unfortunately, Terry was unable to see the production, and although I had it filmed, the editing only finished after his death. The etching ‘Blue Vertical’ came from this commission, and the ‘Spiral for Aldeburgh’ was used at his funeral, with one of his poems printed verso. In 2005, ‘Blue Drowning’, based on Terry’s lost painting Drowning Blue, was performed by the Scottish Strings at the Aldeburgh Festival. This I commissioned from John Woolrich to celebrate the lives of Terry and Kath, and our friendship and collaborations."
Sandra BLOW (1925-2006)UntitledGouache and graphiteSigned and dated 1989Paper size 38 x 36.5cm'This drawing provided the basis for the etching ‘Upward Movement’ which I commissioned for a black + white show of her work. This was the exhibition she was working on at the time of her sudden death. For this reason the editioned etching remains unsigned, apart from a few proof copies, Why a black + white show? After the huge success of the colourful shows marking her 80th birthday, Sandra posed the question ‘Ron, do you think I am painting old women’s paintings - tell me honestly’? To which I replied, ‘NO, but to keep you on your toes, let’s have only black + white for the planned show in Aldeburgh’ .... she laughed! The exhibition was to be a joint one with fellow RA, Geoffrey Clarke - they were mutual fans of each other.'From the collection of Ron HowellThis work has multiple creases, corner pin holes and is irregularly cut on each margin, the paper has browned a little but there is no foxing
Terry FROSTThe Three Graces, 1966/7 (Kemp 37)Etching27.5 x 21.5cmPrinted by Terry while he was living in Banbury and teaching at Reading UniversityFrom the collection of Ron Howell."I was introduced to Terry by Allan Freer who had commissioned various things from him during his time with Manchester Education Committee - some of the works are illustrated in the Lewis book. After the initial meeting, we became good friends and I visited Terry and Kath three or four times a year in Newlyn. But we also met in Venice, where I worked regularly, and Terry has a show at the Multigrafia Gallery and the year before his death, they came to the Aldeburgh Festival. The etching ‘On the Edge’ was made for that visit. During that visit, Terry said that he had always wanted to design an opera, and I was able to help him fulfill that with the commission for Opera East’s production of Britten’s ‘Rape of Lucretia’. Unfortunately, Terry was unable to see the production, and although I had it filmed, the editing only finished after his death. The etching ‘Blue Vertical’ came from this commission, and the ‘Spiral for Aldeburgh’ was used at his funeral, with one of his poems printed verso. In 2005, ‘Blue Drowning’, based on Terry’s lost painting Drowning Blue, was performed by the Scottish Strings at the Aldeburgh Festival. This I commissioned from John Woolrich to celebrate the lives of Terry and Kath, and our friendship and collaborations."
Sir Terry FROST (1915-2003)Boat and Black Sun (Christmas Card)Collage and gouacheWith further coloured pencil drawing to verso and inscription to Denis & Jane (Mitchell) from Kath & Terry, dated 19838 x 15.5cmFrom the collection of Ron Howell."I was introduced to Terry by Allan Freer who had commissioned various things from him during his time with Manchester Education Committee - some of the works are illustrated in the Lewis book. After the initial meeting, we became good friends and I visited Terry and Kath three or four times a year in Newlyn. But we also met in Venice, where I worked regularly, and Terry has a show at the Multigrafia Gallery and the year before his death, they came to the Aldeburgh Festival. The etching ‘On the Edge’ was made for that visit. During that visit, Terry said that he had always wanted to design an opera, and I was able to help him fulfill that with the commission for Opera East’s production of Britten’s ‘Rape of Lucretia’. Unfortunately, Terry was unable to see the production, and although I had it filmed, the editing only finished after his death. The etching ‘Blue Vertical’ came from this commission, and the ‘Spiral for Aldeburgh’ was used at his funeral, with one of his poems printed verso. In 2005, ‘Blue Drowning’, based on Terry’s lost painting Drowning Blue, was performed by the Scottish Strings at the Aldeburgh Festival. This I commissioned from John Woolrich to celebrate the lives of Terry and Kath, and our friendship and collaborations."
Terry FROST (1915-2003)Es VerdadMixed media collageSigned, inscribed 'Umea, Sweden' ''Oh what an effort to love you as I do' (Lorca)' and dated July 1980 to verso54.5 x 37.5cmProvenance - Terry Frost estate via Linda Stoneman GalleryLater produced as an etching titled 'Es Verdad' (Kemp 100) for Frost's 1989 portfolio the 'Lorca Suite' (see lot number 107) This appears to be in excellent condition, although it has not been examined out of the frame
Sir Terry FROST (1915-2003)Umea (Kemp 52)Etching with embossingArtist's Proof (no edition)Signed and dated '7937x26cmPrinted by the artist at Umea Summer School, Sweden'This was one of the places in Scandinavia where Terry taught for the British Council. It is in the far north of Sweden. Details of the print are in Kemp but this is the copy illustrated in the catalogue for the exhibition, Austin/ Desmond Terry Frost ‘Prints 1948-1990’ p13 , where it is ‘Untitled (Umea Abstract)’ From the collection of Ron Howell."I was introduced to Terry by Allan Freer who had commissioned various things from him during his time with Manchester Education Committee - some of the works are illustrated in the Lewis book. After the initial meeting, we became good friends and I visited Terry and Kath three or four times a year in Newlyn. But we also met in Venice, where I worked regularly, and Terry has a show at the Multigrafia Gallery and the year before his death, they came to the Aldeburgh Festival. The etching ‘On the Edge’ was made for that visit. During that visit, Terry said that he had always wanted to design an opera, and I was able to help him fulfill that with the commission for Opera East’s production of Britten’s ‘Rape of Lucretia’. Unfortunately, Terry was unable to see the production, and although I had it filmed, the editing only finished after his death. The etching ‘Blue Vertical’ came from this commission, and the ‘Spiral for Aldeburgh’ was used at his funeral, with one of his poems printed verso. In 2005, ‘Blue Drowning’, based on Terry’s lost painting Drowning Blue, was performed by the Scottish Strings at the Aldeburgh Festival. This I commissioned from John Woolrich to celebrate the lives of Terry and Kath, and our friendship and collaborations."
Sir Terry FROST (1915-2003)Red, black and white suspended formAcrylic on card collageInscribed 'Best Wishes for the New Year to M + M, Italy, from Kath + Terry' to verso8 x 9cmA gift to fellow artist Michael Canney and his wife MadeleineFrom the collection of Ron Howell."I was introduced to Terry by Allan Freer who had commissioned various things from him during his time with Manchester Education Committee - some of the works are illustrated in the Lewis book. After the initial meeting, we became good friends and I visited Terry and Kath three or four times a year in Newlyn. But we also met in Venice, where I worked regularly, and Terry has a show at the Multigrafia Gallery and the year before his death, they came to the Aldeburgh Festival. The etching ‘On the Edge’ was made for that visit. During that visit, Terry said that he had always wanted to design an opera, and I was able to help him fulfill that with the commission for Opera East’s production of Britten’s ‘Rape of Lucretia’. Unfortunately, Terry was unable to see the production, and although I had it filmed, the editing only finished after his death. The etching ‘Blue Vertical’ came from this commission, and the ‘Spiral for Aldeburgh’ was used at his funeral, with one of his poems printed verso. In 2005, ‘Blue Drowning’, based on Terry’s lost painting Drowning Blue, was performed by the Scottish Strings at the Aldeburgh Festival. This I commissioned from John Woolrich to celebrate the lives of Terry and Kath, and our friendship and collaborations."
Sir Terry FROST (1915-2003)Black Moon (Kemp 84)EtchingArtist's proofSigned and dated '8417.5x12.5cm plate size'This is the one illustrated in the Kemp Catalogue Raisonne of Terry’s prints. Dominic asked for it to be photographed, as he had been unable to find one which had not been collaged or hand-coloured or ‘doctored’ in some way.' Ron HowellFrom the collection of Ron Howell."I was introduced to Terry by Allan Freer who had commissioned various things from him during his time with Manchester Education Committee - some of the works are illustrated in the Lewis book. After the initial meeting, we became good friends and I visited Terry and Kath three or four times a year in Newlyn. But we also met in Venice, where I worked regularly, and Terry has a show at the Multigrafia Gallery and the year before his death, they came to the Aldeburgh Festival. The etching ‘On the Edge’ was made for that visit. During that visit, Terry said that he had always wanted to design an opera, and I was able to help him fulfill that with the commission for Opera East’s production of Britten’s ‘Rape of Lucretia’. Unfortunately, Terry was unable to see the production, and although I had it filmed, the editing only finished after his death. The etching ‘Blue Vertical’ came from this commission, and the ‘Spiral for Aldeburgh’ was used at his funeral, with one of his poems printed verso. In 2005, ‘Blue Drowning’, based on Terry’s lost painting Drowning Blue, was performed by the Scottish Strings at the Aldeburgh Festival. This I commissioned from John Woolrich to celebrate the lives of Terry and Kath, and our friendship and collaborations."This is in lovely unblemished condition and is well presented
Sir Terry FROST (1915-2003)San Rafael (Cadoba) (Lorca Suite)Hand-coloured etching and collageSigned, inscribed 'One Fish Alone in the Water'Collage Proof56 x 37cmFrom the collection of Ron Howell."I was introduced to Terry by Allan Freer who had commissioned various things from him during his time with Manchester Education Committee - some of the works are illustrated in the Lewis book. After the initial meeting, we became good friends and I visited Terry and Kath three or four times a year in Newlyn. But we also met in Venice, where I worked regularly, and Terry has a show at the Multigrafia Gallery and the year before his death, they came to the Aldeburgh Festival. The etching ‘On the Edge’ was made for that visit. During that visit, Terry said that he had always wanted to design an opera, and I was able to help him fulfill that with the commission for Opera East’s production of Britten’s ‘Rape of Lucretia’. Unfortunately, Terry was unable to see the production, and although I had it filmed, the editing only finished after his death. The etching ‘Blue Vertical’ came from this commission, and the ‘Spiral for Aldeburgh’ was used at his funeral, with one of his poems printed verso. In 2005, ‘Blue Drowning’, based on Terry’s lost painting Drowning Blue, was performed by the Scottish Strings at the Aldeburgh Festival. This I commissioned from John Woolrich to celebrate the lives of Terry and Kath, and our friendship and collaborations."
Sir Terry FROST (1915-2003)Untitled (Newlyn) (Kemp 145)Embossed etchingSignedPaper size 35 x 35.5cmThis rare print is aside from the edition of 20 printed in black by Hugh Stoneman'We had been talking about colour, and white as a colour. In the garden studio I was going through the stack of prints and works on paper when I came across two copies of this emboss - Terry said that he had been intending to colour of collage on them, but after our discussion, he thought he might leave them as ‘pure’ white. After he agreed I could buy them, there was deliberation as to how to sign them - his usual black would have been too intrusive - he came up with a brown pencil, signed and then smudged the signature to reduce the disturbance on the white. the other copy I sold.'From the collection of Ron Howell."I was introduced to Terry by Allan Freer who had commissioned various things from him during his time with Manchester Education Committee - some of the works are illustrated in the Lewis book. After the initial meeting, we became good friends and I visited Terry and Kath three or four times a year in Newlyn. But we also met in Venice, where I worked regularly, and Terry has a show at the Multigrafia Gallery and the year before his death, they came to the Aldeburgh Festival. The etching ‘On the Edge’ was made for that visit. During that visit, Terry said that he had always wanted to design an opera, and I was able to help him fulfill that with the commission for Opera East’s production of Britten’s ‘Rape of Lucretia’. Unfortunately, Terry was unable to see the production, and although I had it filmed, the editing only finished after his death. The etching ‘Blue Vertical’ came from this commission, and the ‘Spiral for Aldeburgh’ was used at his funeral, with one of his poems printed verso. In 2005, ‘Blue Drowning’, based on Terry’s lost painting Drowning Blue, was performed by the Scottish Strings at the Aldeburgh Festival. This I commissioned from John Woolrich to celebrate the lives of Terry and Kath, and our friendship and collaborations." This piece is in excellent condition. It is well presented in a painted frame, which does present a number of surface marks (please see additional images).
Sir Terry FROST (1915-2003)Eleven Poems by Federico Garcia Lorca, (Lorca Suite) (Kemp 98-108)The complete portfolio of eleven etching/aquatints, some with hand-colouringPrinters ProofEach signed and inscribed 'PP'Published Austin/Desmond Contemporary Books, London 1989Size of portfolio 61 x 41.5cm (in the original black cloth-covered box)'This was Gillie’s own copy which I managed to buy, without any ‘problems’ from him in Wills Lane Gallery - although I wasn’t allowed to take it away with me - it had, for some reason, to be sent after my return to Aldeburgh! I never discovered why! Almost all the obituaries, mention this as the pinnacle of Terry’s printmaking, talking of it not as illustrating Lorca, but actually being a visual equivalent of Lorca. This is the actual set which appears in the Kemp Catalogue Raisonne.' Ron HowellFrom the collection of Ron Howell."I was introduced to Terry by Allan Freer who had commissioned various things from him during his time with Manchester Education Committee - some of the works are illustrated in the Lewis book. After the initial meeting, we became good friends and I visited Terry and Kath three or four times a year in Newlyn. But we also met in Venice, where I worked regularly, and Terry has a show at the Multigrafia Gallery and the year before his death, they came to the Aldeburgh Festival. The etching ‘On the Edge’ was made for that visit. During that visit, Terry said that he had always wanted to design an opera, and I was able to help him fulfill that with the commission for Opera East’s production of Britten’s ‘Rape of Lucretia’. Unfortunately, Terry was unable to see the production, and although I had it filmed, the editing only finished after his death. The etching ‘Blue Vertical’ came from this commission, and the ‘Spiral for Aldeburgh’ was used at his funeral, with one of his poems printed verso. In 2005, ‘Blue Drowning’, based on Terry’s lost painting Drowning Blue, was performed by the Scottish Strings at the Aldeburgh Festival. This I commissioned from John Woolrich to celebrate the lives of Terry and Kath, and our friendship and collaborations."
Sir Terry FROST (1915-2003)Double Quay (Kemp 7)LinocutSigned and dated '52Numbered 4/5013 x 14cmExhibited - 'Terry Frost - Works on Paper from the Artist's Studio' Belgrave Gallery, St Ives (label verso)From the collection of Ron Howell."I was introduced to Terry by Allan Freer who had commissioned various things from him during his time with Manchester Education Committee - some of the works are illustrated in the Lewis book. After the initial meeting, we became good friends and I visited Terry and Kath three or four times a year in Newlyn. But we also met in Venice, where I worked regularly, and Terry has a show at the Multigrafia Gallery and the year before his death, they came to the Aldeburgh Festival. The etching ‘On the Edge’ was made for that visit. During that visit, Terry said that he had always wanted to design an opera, and I was able to help him fulfill that with the commission for Opera East’s production of Britten’s ‘Rape of Lucretia’. Unfortunately, Terry was unable to see the production, and although I had it filmed, the editing only finished after his death. The etching ‘Blue Vertical’ came from this commission, and the ‘Spiral for Aldeburgh’ was used at his funeral, with one of his poems printed verso. In 2005, ‘Blue Drowning’, based on Terry’s lost painting Drowning Blue, was performed by the Scottish Strings at the Aldeburgh Festival. This I commissioned from John Woolrich to celebrate the lives of Terry and Kath, and our friendship and collaborations."This piece is in excellent condition.
Robert Sargent Austin, RA, RE, RWS (British, 1895-1973)A Roman Madonna, etching, signed to lower margin in pencil, 18.5 x 15.5cm; Cathedral, Palma, etching, signed, 21.5 x 35cm; Thomas Todd Blaylock, A Breeze on the River, etching, signed, 19 x 24cm; George Spencer Hoffman, Charing Cross Bridge, etching, signed, 19 x 25.5cm; with two Ackermann aquatints of Clare College and St John's College, and four other prints (10)
A mixed group of four modern pictures, to include: Elizabeth 'Betty' Polivka, portrait of Michael Stone sketching in a garden, signed and dated 94, watercolour, 22 x 18cm; an etching and aquatint of men with a pack mule, signed E hovell, 29 x 33cm, a manner of Bernard Dunstan still life of a domestic interior, oil on canvas, 28.5 x 22.5cm; and an unsigned oil on board of men sleeping at a train terminal, 11.5 x 37cm
An antique Carington Bowles coloured etching of an 18th Century battle scene - 'The Battle of Newark in Silesia, where the King of Prussia obtained a glorious victory over Prince Charles of Lorrain on the 5th of December 1757', together with The Storming of Mooltan - vintage print. Both framed & glazed. Largest frame size approx. 42.5cm x 53.5cm.
RACHEL ANN LE BAS, N.E.A.C., R.E. (ENGLISH, 1923-2020) 'A View of Minster Lovell'; 'cothelstone Manor'; 'Trooper Road Aldbury'; 'Misty Willows' Coloured etching Each titled lower left, numbered lower centre, signed lower right, Various sizes, largest 32.5cm x 43cm (plate size) Condition Report : Each mounted but unframed, good condition Condition reports are offered as a guide only and we highly recommend inspecting (where possible) any lot to satisfy yourself as to its condition.
JOAN MIRÓ I FERRÀ (Barcelona, 1893 - Palma de Mallorca, 1983)."Passage De L'Egyptienne 4.Etching aquatint on paper.Signed in pencil in lower right corner.Measurements: 56 x 43 cm; 82 x 69 cm (frame).In this work we can observe soft greyish lines on which a big eye is located on the left side of the composition, at the same time we can find the classic chromatic palette of the author with the use of red, blue, yellow and magenta.Joan Miró trained in Barcelona, between the Escola de la Lonja and the Galí Academy. As early as 1918 he held his first exhibition at the Dalmau Galleries in Barcelona. In 1920 he moved to Paris and met Picasso, Raynal, Max Jacob, Tzara and the Dadaists. There, under the influence of the surrealist poets and painters, his style matures; he tries to transpose surrealist poetry to the visual, based on memory, fantasy and the irrational. From this point onwards his style began to evolve, leading him to more ethereal works in which organic forms and figures were reduced to abstract dots, lines and patches of colour. In 1924 he signed the first Surrealist manifesto, although the evolution of his work, which is too complex, makes it impossible to ascribe him to any particular orthodoxy. His third exhibition in Paris in 1928 was his first great triumph: the Museum of Modern Art in New York acquired two of his works. He returned to Spain in 1941, and that same year the museum devoted a retrospective to him which was to be his definitive international consecration. During the 1950s he experimented with other artistic media, such as engraving, lithography and ceramics. From 1956 until his death in 1983, he lived in Palma de Mallorca in a sort of internal exile, while his international fame grew. Throughout his life he received numerous awards, such as the Grand Prizes at the Venice Biennale in 1954 and the Guggenheim Foundation in 1959, the Carnegie Prize for Painting in 1966, the Gold Medals of the Generalitat de Catalunya (1978) and of the Fine Arts (1980), and was named Doctor Honoris Causa by the universities of Harvard and Barcelona. His work can currently be seen at the Joan Miró Foundation in Barcelona, inaugurated in 1975, as well as in major contemporary art museums around the world, such as the Thyssen-Bornemisza, the MoMA in New York, the Reina Sofía Museum in Madrid, the National Gallery in Washington, the MNAM in Paris and the Albright-Knox Art Gallery in Buffalo.
EDUARDO CHILLIDA JUANTEGUI (San Sebastian, 1924 - 2002)."Beltza-Txiki", 1969.Etching on paper. Copy 44/50.Signed and numbered in pencil.Sizes: 33 x 25 cm (paper); 52.5 x 42.5 cm (frame).Chillida begins his training at the School of Architecture at the University of Madrid, but abandons his studies to devote himself to football, as goalkeeper for Real Sociedad. As a result of an injury he was forced to give up sport, and it was then that his artistic vocation awoke. He took up drawing at the Círculo de Bellas Artes in Madrid, and little by little his interest in sculpture grew. It was during his years in Paris that he made his first plaster sculptures, impressed by the archaic Greek sculpture in the Louvre. He held his first sculpture exhibition in the French capital in 1950. In 1951 he returned to San Sebastian for good, and made his first work in iron, the material with which he would work for the rest of his life. With the idea that art should be accessible to everyone, he produced numerous public works throughout his life, as well as sculptures for museums all over the world. His works dialogue with their surroundings, which is why many of them are already considered emblematic places for citizens, as is the case with the "Peine del viento" in San Sebastian and the "Puerta de la Libertad" in Barcelona. Throughout his life, Chillida received numerous prizes and awards, including the Carnegie Prize, the Rembrandt Prize, the Wolf Foundation Prize for the Arts and the Prince of Asturias Prize for the Arts. He was also an academician of San Fernando, and a member of the American Academy of Arts and Sciences, Honorary of the Royal Academy of Arts in London and of the Imperial Order of Japan, and was awarded the Grand Cross for Humanitarian Merit by the Institution of the same name in Barcelona. In addition to his Chillida-Leku Museum in Hernani, he is represented in museums and collections all over the world, such as the Guggenheim in Bilbao, the MOMA in New York, the Reina Sofía in Madrid, the Tate Gallery in London and the Neue Nationalgalerie in Berlin.
Orlik, Emil -- Photographer: Heinz von Perckhammer and Emil Orlik. Emil Orlik etching and reproduction photo of the painting "Self-portrait in front of "'Dächern von Paris'". Circa 1928. 2 vintage gelatin silver prints. Each circa 23,5 x 18,3 cm. 1 with photographer's stamp (Perckhammer) and 1 with Orlik estate stamp on the verso.Some crease marks and handling marks, one with spot in lower mid area, otherwise in good condition.Provenance: Galerie Bodo Niemann, Berlin
CROSS SECTION OF A PALLASITE METEORITE SEYMCHAN, SIBERIA, C. 4.5 BILLION YEARS B.P. the slice with olivine crystals suspended within the metal matrix and etching(7.8cm tall)Note: The meteorite that produced this sculpture was formed in the Asteroid Belt around the same time as the birth of our Solar System. It consists of both metal and olivine minerals, the remant materials of planet forming collisions occuring during this formative period.
ROSIE CORCARAN "Monkey" a study, black charcoal and chalk, signed and dated '99 lower right 44 cm x 57 cm together with AFTER ROSIE CORCARAN "High spirits 1" study of monkeys, black and white etching, limited edition No'd 3/25, signed, numbered and titled to margin, impression size 30 cm x 24.5 cm
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