Otto Dix (1891-1969), ''Nelly II'', Radierung auf Kupferdruckpapier, (1923/24 bzw. 1968), eines von 20 Exemplaren der späten Auflage von 1968, handsigniert unten rechts, bezeichnet ''Nachdruck 1967'', herausgegeben vom Fackelträger-Verlag 1968/70 in der Vorzugsausgabe ''Otto Dix. Das graphische Werk''. Nelly ist das erste Kind des Künstlers, sie wurde 1923 in Düsseldorf geboren. 19 x 13,5 cm, hinter Glas u. Pp. ger. 46 x 39 cmOtto Dix (1891-1969), ''Nelly II'', etching on copperplate paper, (1923/24 and 1968 respectively), one of 20 copies of the late edition of 1968, signed by hand lower right, inscribed ''Nachdruck 1967'', published by Fackelträger-Verlag 1968/70 in the special edition ''Otto Dix. The graphic work''. Nelly is the first child of the artist, she was born in Düsseldorf in 1923. 19 x 13.5 cm, framed behind glass u. Passepartout 46 x 39 cm
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Richard Müller (1874-1954), Maler, Grafiker und Professor an der Dresdner Akademie, ''Der dreiste Freier'', Radierung auf Japan, in der Platte monogrammiert und dat. 1923, 30 x 24 cm, hinter Glas u. Pp. im Wechselrahmen 70 x 50 cmRichard Müller (1874-1954), painter, graphic artist and professor at the Dresden Academy, ''Der dreiste Freier'', etching on Japan, monogrammed and dated in the plate 1923, 30 x 24 cm, behind glass a. passepartout in exchangeable frame 70 x 50 cm
Eduard Binder, Berliner Maler und Grafiker Mitte 20. Jh., Ansicht des Brandenburger Tores mit Staffage, große, aquarellierte Radierung, u. re. handsign., im Rand etwas fleckig, Knickspur, 50 x 62 cm, hinter Glas ger. 69 x 83 cmEduard Binder, Berlin painter and graphic artist mid-20th century, view of the Brandenburg Gate with staffage, large, watercolor etching, signed on the lower right, somewhat stained in the margin, crease mark, 50 x 62 cm, framed behind glass 69 x 83 cm
Gerd Mackensen (*1949 Nordhausen), ansässig in Sondershausen, Radierung mit Aquarell/Bütten, 1984, u. re. mit Blstft. sign. G. Mackensen sowie u. li. unleserl. betit., in der Platte u. re. unleserl. bez. sowie u. li. dat., unter Pp. hinter Glas ger. 48,5 x 57,5 cm, Pp.-Ausschn. 33,5 x 42,8 cm, ungeöffn.Gerd Mackensen (*1949 Nordhausen), resident in Sondershausen, etching with watercolor / handmade paper, 1984, u. r. with Blstft. signed G. Mackensen as well as u. li. illegible titled, in the plate u. r. illegible inscribed as well as u. li. dated, framed under mount behind glass 48.5 x 57.5 cm, mount cut-out 33.5 x 42.8 cm, unopened.
Horst Janssen (1929-1995), Liselotten-Land, 1987, Radierung/dünnes Japan, u. re. mit Blstft. sign. sowie in der Platte betitelt und dat., Platte 29,1 x 20,6 cm, Blatt 43,5 x 30,5 cm, an o. Ecken auf Untersatz mont., lichtrandig, unter Pp. hinter Glas ger. 66 x 51,2 cmHorst Janssen (1929-1995), Liselotten-Land, 1987, etching/thin Japan, signed u. r. with blstft. as well as titled and dated in the plate, plate 29.1 x 20.6 cm, sheet 43.5 x 30.5 cm, mounted at o. corners on backing, light-margined, framed under passepartout behind glass 66 x 51.2 cm
Menno Fahl (*1967), ansässig in Hannover, 2 Köpfe, Aquatintaradierung, u. re. sign. Menno Fahl sowie u. li. numm. 5/15, unter Pp. hinter Glas ger. 50,6 x 60,6 cm, Pp.-Ausschnitt 30 x 37 cm, ungeöffnetMenno Fahl (*1967), resident in Hannover, 2 heads, aquatint etching, u. r. signed Menno Fahl as well as u. li. numm. 5/15, framed under mount behind glass 50.6 x 60.6 cm, mount cut-out 30 x 37 cm, unopened
Horst Janssen (1929-1995), ''Angeber'', Radierung mit Aquatinta, u. re. handsign. u. dat. (19)83, u. li. num. 38/90, 29,5 x 11,5 cm, Blattmaße 37 x 23,5 cmHorst Janssen (1929-1995), ''Angeber'', etching with aquatint, lower right signed and dated (19)83, lower left numbered 38/90, 29,5 x 11,5 cm, sheet size 37 x 23,5 cm
Wolf Vostell (1932-1998), ''Der Diskobol von Myron, Gouache/Goldfarbe über Radierung u. Heliogravüre, 1989, handsigniert, dat. u. als A.P. bezeichnet, 49 x 39 cm, Blattmaße 60 x 46 cmWolf Vostell (1932-1998), ''The Discobol of Myron, gouache/gold paint over etching a. heliogravure, 1989, signed, dated a. inscribed A.P., 49 x 39 cm, sheet measures 60 x 46 cm
Jonathan Meese (*1970), ''Die Exe Schrympylei'', Radierung mit Aquatinta und Kaltnadel aus Somerset Velvet Papier, u. re. handsign., 49,5 x 35 cm, Blattmaße 75 x 57,5 cmJonathan Meese (*1970), ''Die Exe Schrympylei'', etching with aquatint and drypoint on Somerset Velvet paper, signed lower right, 49.5 x 35 cm, sheet dimensions 75 x 57.5 cm
Jonathan Meese (*1970), ''Der Hohlste Kunsthistoriker'', Radierung mit Aquatinta und Kaltnadel aus Somerset Velvet Papier, u. re. handsign., 49,5 x 39 cm, Blattmaße 75 x 56,5 cmJonathan Meese (*1970), ''Der Hohlste Kunsthistoriker'', etching with aquatint and drypoint on Somerset Velvet paper, signed lower right, 49.5 x 39 cm, sheet measures 75 x 56.5 cm
Herbert Zangs (1924-2003), ''X Less is more'', Radierung, u. re. mit Bleistift monogrammiert , u. li. nummeriert 14/30, 19,5 x 24 cm, hinter Glas ger. 45 x 55 cmHerbert Zangs (1924-2003), ''X Less is more'', etching, monogrammed in pencil lower right, numbered 14/30 lower left, 19.5 x 24 cm, framed behind glass 45 x 55 cm
Gotthard Graubner (1930-2013), Zwei Kissen, Radierung, u. re. handsigniert u. dat. (19)69, u. li. num. 33/50, 14 x 21,5 cm, hinter Glas u. Pp. ger. 57 x 42 cmGotthard Graubner (1930-2013), Two cushions, etching, u. r. signed and dated (19)69, u. l. numbered 33/50, 14 x 21,5 cm, framed behind glass and passepartout 57 x 42 cm
Pit Morell (*1939), großes Konvolut von 34 Papierarbeiten: vier Aquarelle bzw. Farbstiftzeichnungen mit Elchen und Hasen, 13 Exemplare der Radierung ''Hase für H.B.'', 17 weitere Radierungen und Lithographien (teils in Mehrfachausführung), jeweils handsigniert, Blattmaße bis 31 x 46 cmPit Morell (*1939), large group of 34 works on paper: four watercolors and colored pencil drawings with moose and hares, 13 copies of the etching ''Hare for H.B.'', 17 further etchings and lithographs (partly in multiple execution), each signed by hand, sheet dimensions up to 31 x 46 cm
Hans Hartung (1904-1989), o.T., Radierung auf Kupferdruckpapier, u. re. mit Bleistift handsign., u. li. num. 56/90, 35 x 24 cm, Blattmaße 56 x 45,5 cm, hinter Glas u. Pp. ger. 91 x 81 cmHans Hartung (1904-1989), o.T., etching on copperplate printing paper, signed in pencil on the lower right, numbered 56/90 on the lower left, 35 x 24 cm, sheet measures 56 x 45.5 cm, framed behind glass and passepartout 91 x 81 cm
Hans Hartung (1904-1989), o.T., Radierung mit blauer Tonplatte auf Kupferdruckpapier, u. re. mit Bleistift handsign., u. li. num. 56/90, leicht fleckig, 34,5 x 24,5 cm, Blattmaße 56 x 45,5 cm, hinter Glas u. Pp. ger. 81 x 11 cmHans Hartung (1904-1989), o.T., etching with blue clay plate on copperplate printing paper, signed in pencil lower right, numbered 56/90 lower left, slightly stained, 34.5 x 24.5 cm, sheet measures 56 x 45.5 cm, framed behind glass and passepartout 81 x 11 cm
Maxim Kantor (*1957), russischer Maler, Grafiker, Schriftsteller und Dramatiker, Essayist und Kunsthistoriker. Aquatintaradierung, u. re. kyrill. handsign. u. dat. (19)98, u. li. num. 1/50, 30 x 59,5 cm, hinter Glas ger. 52 x 80 cmMaxim Kantor (*1957), Russian painter, graphic artist, writer and dramatist, essayist and art historian. Aquatint etching, u. r. Cyrill. handsigned u. dated (19)98, u. li. num. 1/50, 30 x 59,5 cm, framed behind glass 52 x 80 cm
Zwei Miniaturrahmen im Biedermeierstil, 20. Jh., hinter Glas im Oval jeweils eine kol. Radierung eines Schmetterlings aus einer Publikation des 19. Jh., 14 x 11,5 cmTwo miniature frames in Biedermeier style, 20th century, behind glass in the oval each a col. Etching of a butterfly from a publication of the 19th century, 14 x 11,5 cm
Wolfgang Domröse (*1948), ''Annäherung II'', Radierung, am u. Rand handsign. u. dat. 1984, betitelt u. num. 1/10, 24 x 32 cm, hinter Pp. 30 x 37 cmWolfgang Domröse (*1948), ''Annäherung II'', etching, at the lower margin signed and dated 1984, titled and numbered 1/10, 24 x 32 cm, behind passepartout 30 x 37 cm
Six 20th century prints, including Dale Devereux Barker (b. 1962), 'Lurking Legend', linocut printed in colours, signed, inscribed, numbered 8/12 and dated '90 (Lumley Cazalet Ltd label verso), 21 x 29cm; Barbara Jackson, 'Transcience', etching, signed, inscribed and numbered 21/40, 18.25 x 18.25cm; two lithographs/drawings by Ellen Graubart, 'Mother Figure' and 'Sitting Duck', Joanna Irvin, 'Leaf Study', A/P1, etching, 10 x 15cm and Mary Rodd, 'Kensington Gardens 1', etching, Artists Proof, signed, inscribed and dated 1980, 17 x 27cm
Seven monochrome reproduction prints of etchings after Menpes and two satirical prints, comprising: Menpes, 'Bearing a Burdon' (2), 'Japanese Children', three other studies of children and a portrait of the Madonna; Rowlandson, 'Pot Fair Cambridge' (etching) and Gilray, 'The Monster going to take his Afternoon's Luncheon' (9, two unframed)
ARTHUR WILLIAM HEINTZELMAN (AMERICAN 1891 - 1965), LA VIERGE ET L'ENFANT JESUS (Smith 155) drypoint etching on cream laid paper, 1929; edition of 70, signed in pencil 30cm x 23cm Mounted, framed and under glass Note: Born in Newark, New Jersey, Arthur William Heintzelman was a painter, etcher, copyist, teacher, and curator. Raised in Providence, Rhode Island, he first studied art at the Rhode Island School of Design, where he subsequently taught, and also in Europe. In 1921, the Heintzelmans moved to Paris and made their home in France, subsequently moving to Switzerland in 1931 and remaining there until 1934, when they returned to the United States. Already widely respected as a printmaker prior to his departure for Europe, he became internationally famous during his years abroad and was - and is - regarded as one of the greatest etchers of the Twentieth Century. During his years in Paris, Heintzelman met Eugène Delatre, who became his printer for the remainder of his stay in Europe, and who taught Heintzelman the intricacies of fine art printmaking for which his atelier was justly famous. In appreciation for his contribution to French art and culture, Heintzelman was named to the Legion of Honour by the French government. Following his return to the United States, Heintzelman became the first Keeper of Prints at the Boston Public Library and served there from 1941 to his retirement in 1960. Thanks to his close relationship with the Delatre family, Heintzelman coordinated the gift of the comprehensive collection of prints by both Auguste and Eugène Delatre to the Boston Public Library. He was succeeded as Keeper of Prints by Sinclair Hitchings. Heintzelman also headed the Fine Arts department of the Rhode Island School of Design. He was awarded numerous international prizes for his etchings, and his works are found in museum collections through the US and Europe. Heintzelman belonged to numerous professional associations both in the US and abroad. He lived and worked in Boston, Marblehead, and Rockport, Massachusetts and in New York City. He died at Rockport, Massachusetts. The works of Heintzelman are documented in The Prints of Arthur Wm. Heintzelman, the catalog raisonné compiled by Donald Eugene Smith and published by the Boston Public Library (USA) in 2004.
Etching After Rembrandt (1609-1669), After the oil painting in the Norton Simon Foundation, portrait of a Boy, Rembrandt's son Titus, 'The Prince of Orange study from Rembrandt' , monogrammed CPS and dated 1880 lower left, framed. Note - After the oil painting in the Norton Simon Foundation, largest 56cm x 48cm (exc frame)
Eight various pictures including prints, etching and photographs, to include limited edition ‘Cheetah’ print signed in pencil by Stephen Gayford. IMPORTANT: Online viewing and bidding only. Collection by appointment via our website or arrange with Mailboxes Etc couriers ONLY. Restrictions apply to ensure social distancing.
Rembrandt van Rijn (Dutch 1606-1669) Woman of Samaria Etching, from the Millenium Edition, 1999, signed within the plate, from the edition of 2500 Plate: 11.5 x 10cm (4½ x 3¾ in.) Together with another titled The Golf Player, Plate: 9.5 x 14cm (3 3/4 x 5 1/2in.) (2) Condition Report: They are unexamined out of frame. The sheets are slightly uneven but appear to be in excellent original condition and there are no visible signs of damage or restoration. Condition Report Disclaimer
After Rembrandt van Rijn (1606-1669): The Baptism of the Eunuch, signed and dated 1641 within the plate but later, etching, 19cm x 22cm, (1); Lieven Willemsz. van Coppenol, Writing-Master, monogrammed and inscribed margin, 19th century drypoint etching, 30cm x 21.5cm, (1); Man in Oriental Costume, 16.5cm x 13.5cm, (1); C. Phillips (fl. 1750-87, engraver), Rembrandt's Sister, [London: n.d., c. 1770], pink mezzotint engraving, 19.5cm x 16cm, (1); Pieter de Bailliu (1613-1660, engraver) S. Anastasius, later strike, no watermarks, 30.5cm x 24cm, (1); A.L. Stein (18th century, engraver), Portrait of a Young Man, Leipzig?: 1769, dated within the plate, drypoint etching, 34cm x 27cm, (1); etc, [8]
Three Etchings including Morton Matthews, The Guildhall Kitchen Boston, signed bottom left, measurements 25.5 x 32 cm (PL), frame 45 x 49 cm.Together with Edgar James Maybery etching of Shakespeare's School, signed bottom right, measurements 20 x 12.5 cm (PL), frame 42 x 32 cm, Leslie Austin etching of a Piper Boy, signed bottom right, measurements 15.5 x 10 cm, frame 32 x 27 cm and a print of London scenes- Old St Pauls, The Globe Theatre and Old London Bridge Three 20th century paintings including R. Herring, Cottage by the wood, Flatford, oil on board, signed bottom right, measurements 39 x 50 cm,together with a watercolour of a tree-lined street, signed G. Jackson, dated 1942, measurements 26 x 25 cm and a picture of a fairy leaning over a pool, measurements 25 x 19 cm (3)
A Collection of signed contemporary prints, including two prints titled 'Guardian Angel', limited edition of 175, by Sylke Claridge (2) together with two etching aquatints from edition of /100, titled 'The Waning Train' and 'Fading Happiness' by K Gryaseva (2) Plus two novelty eye test prints (6 total)
A collection of etchings and watercolours including Joseph Gray (1890-1963) North Sea etching, measurements 20 x 28 cm (PL), together with a further etching by the same hand of the High Street John Knox's House, measurements 26.5 x 20 cm (PL) John Mathieson Edinburgh label verso, also H. Magernis watercolour of a country stream measurements 20 x 14 cm, frame 33 x 28 cm, Maria Birchwood print of Machynlleth Town Clock numbered 61/250, measurements 36.5 x 24 cm, watercolour by G.F. Hayes of Tin Ghaut Whitby, signed and dated '37, measurements 25 x 17.5 cm and Laura Beaumont etching of a Dutch Street, measurements 28 x 22 cm (PL) (7)
After Edward King, Etchings of London, etched by Eugene Tily after watercolours by Edward King, signed by King bottom left, including Richmond Birdge measuring 28 x 36.5 cm (PL), frame 53 x 65 cm, W.M. Whitely Ltd Fine Art Department label versotogether with etching of St Pauls Cathedral and Buckingham Palace monument (3)
William Tatton Winter RBA (British 1855-1928): 'Sudbury Watch Tower Canterbury' and three other town views, four etchings signed in pencil two with blind stamps approx 28cm x 31cm & 38cm x 23cm and another etching of Glasgow University and Tower, signed in pencil (5)Click here to view further images, condition reports, sale times & delivery costs for this lot.
Collection of mostly 19th century engravings and lithographs including 'A Row in the Play Ground' after John 'HB' Doyle, 'St Edmund's Hall' Oxford after Pugin, 'Sandsend', 'King's Chapel', an etching of Richmond by Margaret Rudge and a print after Heath Robinson, max 28cm x 36cm (9) (some unframed)Click here to view further images, condition reports, sale times & delivery costs for this lot.
After Rembrandt van Rijn (1606-1669) Dutch Return of the Prodigal Son Etching, 15cm by 13.5cm . Light to moderate time staining throughout sheet. Slightly more pronounced towards outer edges towards margin. Some evidence of subtle cockling. Broadly otherwise in a fair to good state of repair. Not examined out of the frame.
NO RESERVE Rome.- Trevi Fountain.- Morel (François) Veduta della Fontana dell acqua Vergine Detta Di Trevi..., from Views of Rome, engraving with etching, on wove paper without watermark, platemark 370 x 475 mm (14 1/2 x 18 3/4 in), sheet 435 x 580 mm (17 1/8 x 22 3/4 in), some handling creases, minor spotting and surface dirt, unframed, [circa 1800]; together with a miscellaneous group of British topographical prints and others, including a disbound collection of plates and leaves from Vernor and Hood's 'Select Views of London and its Environs' 1804, 20 plates from Thomas McLean's 'Don Quixote', and three framed works, including Havell's 'View of the Pantheon, &c. , Stourhead Gardens', Bunbury's 'The Gardens of Carleton-House', and T. Dixon's small steel-engraving 'View of Quebec, The Capital of British America', engravings, various sizes, all unframed, 19th century (sm. qty.)
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