![NO RESERVE St Paul's.- Dayes (Edward) The Royal Procession [of King George III] in St. Pauls on St. George's Day, 1789, etchi](https://cdn.globalauctionplatform.com/960a367b-77bc-499c-8192-ac9500f328a1/1c9794b7-c0d3-4375-92f1-ac9800d93d56/468x382.jpg)
NO RESERVE St Paul's.- Dayes (Edward) The Royal Procession [of King George III] in St. Pauls on St. George's Day, 1789, etching and engraving by James Neagle, on laid paper without visible watermark, platemark 480 x 700 mm (18 7/8 x 27 1/2 in), sheet 520 x 740 mm (20 1/2 x 29 1/8 in), small loss restored in margin at centre right, spotting and browning, minor nicks to extremities, unframed, 1793; together with a group of 14 portraits, including mezzotint portraits, a portrait of the blind German-born Indonesian-based botanist Georg Eberhard Rumphius (1627-1702), four portraits of Russian interest, one lettered in Cyrillic, another of Alexis Michailovich, Tsar of Russia, and others similar, engravings, mezzotints, various sizes, all unframed, 18th and 19th century (15)
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A Elizabeth II hallmarked silver limited edition commemorative plate, no.1/1003, Princess Anne and Captain Mark Phillips, to commemorate their wedding on 14th November 1973 at Westminster Abbey, produced by John Pinches with and etching of the original work created by Harry Ecclestine, cased and with certificate, diameter 25cm, London 1973, approx 9.3ozt.
Paul Cezanne (French, 1839 - 1906) "Guillaumin au Pendu" Etching. Composed 1873. Printed later from the original plate. The original edition was c.1,000. Cream wove paper. Full margins (deckle edges). Very good impression. Fine condition. Literature/catalogue raisonne: Cherpin 2. Comment(s): Cezanne made only nine prints during his lifetime, five etchings and four lithographs. All of the etchings date from July 1873 when he was experimenting with etching techniques with his friend, the painter Armand Guillaumin, who is portrayed in the etching offered here. Guillaumin is sitting under the sign of the inn "Le Pendu" (The Hanged Man). [3460-2-300] Image Size: 6 x 4.75 in. Overall Framed Size: 10.25 x 8.25 in.
Martin Lewis (New York, Connecticut, Maine / Australia, 1881 - 1962) "Winter on White Street" Drypoint etching and sand ground on cream wove paper, 1934. Full margins. Third state (of 3). Edition of 41. Signed in pencil, lower right. A brilliant, richly-inked impression. Lucile Deming Lewis (wife of the artist) collection stamp and inscription verso. Kennedy Galleries label verso. Image Size: 10 7/8 x 6 7/8 in. (276 x 175 mm) Sheet Size: 15 x 10 in. Unframed.
Mary Stevenson Cassatt (Pennsylvania / France, 1844-1926) Drypoint Etching "Margot Wearing a Bonnet" (No. 1) circa 1902. Breeskin 179 (no. 1). Inscribed verso "Purchased from the Folio Society Collector's Corner London England. December 1963". Sight Size: 8.75 x 6 in. Overall Framed Size: 18.5 x 16 in. Framed behind glass.
A framed and glazed original letter from The Parsonage, Shiplake, Oxfordshire, dated 30th December 1769 regarding a disease in London that appears to lead to the destruction of old books! 25 x 17; together with a small framed and glazed etching of The Church, Shiplake; and a metal bust of woman with headdress, height 32 cms. Estimate £20-40
Etching, dry point, by Salvator Rosa (Naples 1615-Rome 1673) depicting man with the left stick and sword to right, from "Different figures." Etching from copper plate, mm140x90, in frame mm 265x180 Monogrammed and numbered left to right 53 (1656/58). Excellent copper Etching printed in contemporary paper, II state. The collection of "Different figures" is undoubtedly the most famous graphic work of Salvador Rosa times already considered a model for young artists and in it place on topics already covered by many engravers like Callot, The Beautiful and Liagno. A letter to his friend Ricciardi dated 1656 allows you to securely date this series of figurines. They count 61 of incisions models subsequently brought to 72. ASORstudio
Etching, Stefano Della Bella (Florence 1610- 1664 Florence). Etching Signed on the lower left depicting scenes of everyday life and popular. Bottom written pencil pointing to the numbering of the annotated catalog "De Vesme Alexande", 145x135 mm, in frame mm 245x160. Devoid of the frame. Good copper Etching. Schoolboy sculptor Giambologna, was an autodidact who began to study the Callot which was greatly influenced. It can be considered as a pure graphic of his time as he devoted himself entirely to the etchings and the drawings. Well-known in France was an attentive observer of all his Italian contemporaries, Flemish, French and worked a lot for French printers. Rome, Florence, Paris, saw him work with great success. His works are cataloged in "De Vesme Alexande"
Round golden brass in wooden frame ebonized De Nuptis Mercurii et Philologiae, late eighteenth century Depiction of Philology of the rise in the sky to marry Mercury, the god of eloquence, in a meeting with the liberal arts. In the background an architectural landscape with deep relief Etching on copper stiacciato making it a great sense of depth and relief. They celebrate the event the seven liberal arts: grammar, dialectic, rhetoric, the "Trivium", arithmetic, geometry, astronomy and music, the "crossroads". Tondo golden stiacciato diameter 15 cm, diameter 25 cm frame ,. Small gold deficiencies for use.
RENOIR, AUGUSTE (1841-1919), "Le chapeau épingle", zwei Mädchen mit Hut, die eine der anderen den Hut feststeckend, Radierung/Bütten, in der Platte bezeichnet 'Renoir', HxB: Platte ca. 11,8x8 cm, Blatt ca. 33,5x25,5, Außenmaße Rahmen ca. 43,5x37,5 cm. Gebräunt, Lichtrand. An den Blattkanten mit Papierstreifen im Passepartout montiert, im verglasten Rahmen. RENOIR, AUGUSTE (1841-1919), "Le chapeau épingle", two girls with hats, one of them pinning the hat on to the other, etching / laid paper, inscribed 'Renoir' on the plate, HxW: plate approx. 11.8x8 cm, sheet approx. 33.5x25.5, outer dimensions frame approx. 43, 5x37.5 cm. Tanned, light edge. Mounted on the sheet edges with strips of paper in a mat, in a glazed frame.
TAKAHASHI, YOSHI (1943-1998), 2 Figürliche Kompositionen, 1x "Gesicht vor Landschaft", u.li. signiert und datiert 'Yoshi 7.95', Mischtechnik/Bütten, HxB: ca. 19x21 cm (43x44 cm mit Rahmen); 1x "Landschaft mit Kirche", Farbaquatintaradierung/Bütten, u.re. mit Bleistift von Hand signiert und datiert 'Yoshi 3/95', HxB: Blatt ca. 23,5x16,5 cm (43x35 cm mit Rahmen). Je mit Passepartout hinter Glas gerahmt. TAKAHASHI, YOSHI (1943-1998), 2 figurative compositions, 1x "face before landscape", below left. signed and dated 'Yoshi 7.95', mixed media / handmade paper, HxW: approx. 19x21 cm (43x44 cm with frame); 1x "Landscape with Church", color aquatint etching / handmade paper, u.re. Signed and dated 'Yoshi 3/95' by hand in pencil, HxW: sheet approx. 23.5x16.5 cm (43x35 cm with frame). Each framed with a passepartout behind glass.
BURNAND, E., wohl Eugène (1850-1921, schweizer Maler u. Radierer), "Paysanne du Valais", Darstellung einer sitzenden Bäuerin, Radierung nach M. Girardet, i.d. Platte bez. u. betitelt, HxB: ca. 21,5x17,5 cm (Plattenmaße), 47,5x37 cm (Außenmaße Rahmen). Gebräunt, fleckig. Im Passepartout hinter Glas gerahmt. Altersspuren. BURNAND, E., likely Eugène (1850-1921, Swiss artist), "Paysanne du Valais", Representation of a sitting peasant woman, etching modelled after M. Girardet, plate designated and titled, HxW: arround 21.5 x 17.5 cm (slab dimensions), 47.5 x 37 cm (outside dimensions frame). Tanned, spotty. Framed behind glass in the passe-partout. Signs of age.
LIEBERMANN, Max, ATTRIBUIERT (1847-1935), "Amsterdamer Judengasse", Radierung/Papier, HxB: Platte ca. 15x20 cm, Blatt ca. 18x23,5 cm, Außenmaße Passepartout ca. 26x34 cm. Gebräunt, Lichtrand, Flecken, Knickspuren. An den Ecken in Passepartout montiert. AUF DEM PASSEPARTOUT mit Bleistift bezeichnet 'Liebermann, Karrenhandel'. LIEBERMANN, Max, ATTRIBUTED (1847-1935), "Amsterdamer Judengasse", etching / paper, HxW: plate approx. 15x20 cm, sheet approx. 18x23.5 cm, external dimensions passe-partout approx. 26x34 cm. Browned, light edge, stains, crease marks. Mounted in a mat at the corners. ON THE PASSEPARTOUT inscribed 'Liebermann, Karrenhandel' in pencil.
HRDLICKA, ALFRED (1928-2009), "Freizeitgestaltung für Schwererziehbare", Aquatintaradierung/BFK Rives (mit Wasserzeichen), u.re. mit Bleistift von Hand signiert und datiert (19)71/72, u.li. mit Stempel betitelt, HxB: Platte ca. 40x50 cm, Blatt ca. 50x66 cm. Minim. gebräunt und fleckig, wenige Knickspuren, Reißnagellöchlein an den Ecken. HRDLICKA, ALFRED (1928-2009), "Recreation for those who are difficult to educate", aquatint etching / BFK Rives (with watermark), signed and dated by hand in pencil (19) 71/72, below left titled with a stamp, HxW: plate approx. 40x50 cm, sheet approx. 50x66 cm. Minim. browned and stained, a few crease marks, thumbtack holes at the corners.
DALI, SALVADOR (1904-1989) "L'Académie de Paris" Farbradierung auf Japanpapier, Bleistiftsignatur, Exemplar CLVII/CCCL Platte, WVZ Michler-Löpsinger, Nr.514, HxB: 43 x 60 cm, gerahmt, leichte Altersspuren. DALI, SALVADOR (1904-1989) "L'Académie de Paris" Colour etching on Japan paper, pencil signature, copy CLVII/CCCL plate, WVZ Michler-Löpsinger, No.514, HxW: 43 x 60 cm, framed, slight signs of age.
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