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Click here to subscribeIan Berry/Magnum Photos (by), The English, Giclée, Hahnemühle matt fine art German etching, signed to verso, non embossed, 16" x 12". UK. England. Yorkshire. Whitby. People out for a Sunday stroll sit and enjoy the view of the bay with its yachts and the town perched on the hillsides. For additional information regarding this lot please contact Edmond Terakopian at edo@pix.org.uk.
Richard Bradbury (by), Thai Takeaway Chicken, Giclée, Hahnemühle German etching, signed, non embossed, 23.4" x 16.5". I was lucky enough to spend two weeks living with a Thai Hill Tribe in Northern Thailand. I was inspired by the joy and happiness that prevailed in the village with no modern western style facilities and a single water supply used by everyone. People old and young worked and lived together with a real sense of community that is so often lacking in city life. For additional information regarding this lot please contact Edmond Terakopian at edo@pix.org.uk.
Richard Bradbury (by), Thai Tribeswoman, Giclée, Hahnemühle German etching, signed, non embossed, 23.4" x 16.5". Thai Hill Tribe Lady. I was lucky enough to spend two weeks living with a Thai Hill Tribe in Northern Thailand. I was inspired by the joy and happiness that prevailed in the village with no modern western style facilities and a single water supply used by everyone. People old and young worked and lived together with a real sense of community that is so often lacking in city life. For additional information regarding this lot please contact Edmond Terakopian at edo@pix.org.uk.
(See English version below)David Hockney (Bradford 1937 – lebt in London und Los Angeles). The Student: Homage to Picasso. 1973Radierung und Aquatinta auf Velin. 57,7 × 44,4 cm (75,6 × 56,5 cm) ( 22 ¾ × 17 ½ in. (29 ¾ × 22 ¼ in.)). Signiert und datiert.Scottish Arts Council 153.–Eines von 90 arabisch nummerierten Exemplaren aus einer Gesamtauflage von 120 + 15 A.P. Berlin, Propyläen Verlag und Rom, Pantheon Press. [3862]Provenienz: Privatsammlung, BerlinZustandsbericht: Ex. 42/90. In gutem Zustand. Im Passepartoutausschnitt minimal gebräunt. Entlang der Passepartoutkanten sehr schwacher Lichtrand. Stellenweise winzige braune Stockfleckchen. Unten rechts mit einer minimalen Fingerspur. Die Blattkanten ohne Einrisse oder Fehlstellen. Unter UV-Licht sind keine Restaurierungen erkennbar. Rückseitig in den oberen Ecken mit weißem Klebestreifen am Unterkarton montiert. Sehr schöner harmonischer GesamteindruckWir berechnen auf den Hammerpreis 30% Aufgeld.David Hockney (Bradford 1937 – lives in London and Los Angeles). The Student: Homage to Picasso. 1973Etching and aquatint on wove paper. 57,7 × 44,4 cm (75,6 × 56,5 cm) ( 22 ¾ × 17 ½ in. (29 ¾ × 22 ¼ in.)). Signed and dated.Scottish Arts Council 153.–One of 90 Arabic-numbered copies from a total edition of 120 + 15 a.p. Berlin, Propyläen Verlag and Rome, Pantheon Press. [3862]Provenance: Private Collection, BerlinCondition report: No. 42/90. In good condition. Minimal time staining in the mat window. Very pale light staining along the passepartout edges. Tiny brown foxing points in some places. A light fingerprint in the lower right. No tears or losses at the sheet edges. There are no repairs visible under UV-light. Mounted with white adhesive strip onto the support cardboard in the upper corners on the reverse. Very fine harmonious overall appearanceWe charge 30% premium on the hammerprice.
"Stehende Mutter, Ihr Bublein Futternd" (Standing Mother Feeding her Little Boy), unsigned, unnumbered etching. Kathe Kollwitz is considered one of the greatest German artists of the 20th century and her artwork will remain relevant as long as humans struggle for a living wage, nations wage war on other nations, religions battle religions, and mothers grieve for their children.Overall size: 15 1/2 x 11 in. Sight size: 7 3/4 x 5 3/4 in.
A Mother and Child by Kathe Kollwitz, etching signed in the plate. Kathe Kollwitz is considered one of the greatest German artists of the 20th century and her artwork will remain relevant as long as humans struggle for a living wage, nations wage war on other nations, religions battle religions, and mothers grieve for their children.Overall: 21 1/2 x 17 in. Sight: 14 x 10 in.
"Monday Afternoon #4", Signed etching, dated 1932.. During her childhood, Beatrice began drawing and attending classes at the CSFA under Gertrude Albright. She married in 1930 and remained a resident of her native city until her demise. Her etchings were done during the early part of her life.Overall: 22 x 18 in. Sight: 6 1/2 x 4 in.
This is a beautiful etching of the trial of Thomas Wentworth, the Earl of Strafford. It wasdone by Wenceslaus Hollar (1607 - 1677), a celebrated Czech printmaker. The piece istitled in German “Abbildung der Session des Parlaments zu London über den Sentenzdes Grafen von Stafford”. Hollar was born in Prague and died in London; he was knownto German speakers as Wenzel Hollar and to Czech speakers as Václav Hollar, and isparticularly noted for his engravings and etchings. He produced works prolificallythroughout the English Civil War.Strafford was an English statesman and a major figure in the period leading up to theEnglish Civil War. He served in Parliament and was a supporter of King Charles I, thenran into disfavor with Parliament after he offered to bring over the Irish army to subduethe king’s opponents in England. The trial was held in 1641 and Strafford was executedthe same year. The engraving is signed on the plate in the lower left, and the overallsize is 10 5/16 x 11 3/8 in. wide.
Hedley Fitton was an English engraver and printmaker noted mainly for his architecturaletchings. His etchings included street scenes and important cathedrals in London,Florence, Edinburgh, and Paris. In 1907 the Société des Artistes Français awarded hima gold medal for his work, and he exhibited at the Royal Academy, the Royal Society ofPaint Etchers and Engravers, and the Paris Salon, among others. Fitton was born inManchester and attended art school in Cheshire. He worked as an editor and illustratorat a newspaper in Didsbury, and he travelled and worked extensively in England,Scotland, France and Italy. His best known works are "The Pantheon, Rome" and "TheRose Window, Notre Dame”, which depict some of the most venerated landmarks of histime. The stunning etching here is tall and meticulously executed, and titled “The RoseWindow”. It is signed in the lower right margin. Overall: 31 x 22 1/2 in.
Hedley Fitton was an English engraver and printmaker noted mainly for his architecturaletchings. His etchings included street scenes and important cathedrals in London,Florence, Edinburgh, and Paris. In 1907 the Société des Artistes Français awarded hima gold medal for his work, and he exhibited at the Royal Academy, the Royal Society ofPaint Etchers and Engravers, and the Paris Salon, among others. Fitton was born inManchester and attended art school in Cheshire. He worked as an editor and illustratorat a newspaper in Didsbury, and he travelled and worked extensively in England,Scotland, France and Italy. His best known works are "The Pantheon, Rome" and "TheRose Window, Notre Dame”, which depict some of the most venerated landmarks of histime. The stunning etching here is tall and meticulously executed, and titled “The RoseWindow”. It is signed in the lower right margin. Sight: 16 x 13 in.Overall: 28 x 22 in.
Original etching by A E Howarth titled “Rose Window, Rouen”. Howarth was a Britishartist known for his beautiful church etchings and architectural drawings. Born inDurham and living in Watford, he was self-taught and produced his first etchings in1898; he also worked as an illustrator for newspapers and periodicals, and he workedwidely in England, France and Italy. It is titled on the mat in the lower left and signed inthe margin on the lower right. The overall size is 20 x 32 in. wide and the sight size is 24x 11 3/4 in. wide.
“Arch of the Conca, Perugia” by John Taylor Arms, signed and dated in the margin in thelower right. Arms was noted for his unsurpassed attention to architectural detail, oftenachieved with a magnifying glass and sewing needle in the etching ground. He studiedarchitecture at MIT in Boston, served in the Navy, then devoted himself to etching. Hisinitial subject was the Brooklyn Bridge. Then he worked on images of Gothic churchesand cathedrals in France and Italy. He also made a series of prints of American cities.The etching is titled in the mat on the lower left and signed in the margin on the lowerright. The overall size is 14 1/4 x 19 in. wide and the sight size is 11 1/4 x 15 1/2 in.wide.
Etching by Eugene Higgins titled “In The Park”. Born in Missouri, Higgins became apainter and printmaker much in the tradition of Millet and Daumier. He was essentially afigure painter and expressed his humanitarian side with portrayals of the poor anddowntrodden, such as flood victims, refugees, dirt farmers, the shipwrecked and otherunfortunate people. He studied in Paris, where he earned money by honing his skills asan etcher. He was influenced by Rembrandt, and during the Depression he createdmurals for post offices in Pennsylvania, Wisconsin, and Tennessee.Sight: 5 x 9 in. Overall: 12 1/2 x 18 1/2 in.
Etching by James David Smillie, an American artist from New York who was associatedwith the Realist and Romantic movements of the 1880’s. He was known for landscapeengravings and collaborated on illustrations for novels by James Fenimore Cooper, andhe even engraved bank notes in this country. He began painting in 1865 and was afounder of the American Watercolor Society. The title of the etching is “The Way to theRiver” and it is signed on the plate in the lower left.Sight: 9 3/4 x 7 1/2 in. Overall: 24 x 19 in.
Katharine Merrill (also Katherine Merrill) was a painter, etcher, and art teacher whowas born in Milwaukee, Wisconsin and died in Sarasota, Florida. She studied at the ArtInstitute of Chicago and was a pupil of William Chase Merritt, and her paintings andetchings had an impressionist style to them. When she lived in Florida, she becamePresident of Sarasota’s Artists Association. The etching here is titled “The Warders,Chartres” and was probably done in the 1930’s. It depicts two robed figures in thearched doorway of the cathedral at Chartres in Paris. It is titled in the lower left marginand signed in pencil in the lower right margin.Sight: 11 x 8 in.Overall: 18 3/4 x 13 3/4 in.
This is an etching by C Jae Young (1880 - NA), a Bavarian artist who moved to thiscountry as a child and became a member of the Brooklyn Society of Etchers in the1920’s and produced this etching in 1930, the fourteenth year the Society was inexistence. He was self-taught and became a member of the Salmagundi Club, andexhibited in the United States and Canada. The etching is entitled “Surf-poundedCoast”, which represents the northern coastline of Maine. Only 480 proofs were madefor the artist and then the original plate was destroyed. The piece is signed in the lower. It comes with a beautifully crafted descriptive note from the Brooklyn Society ofEtchers that supported this work by C Jae Young. The note itself is initialed by JohnTaylor Arms (J.T. A.), one of the founding members of the Society.SIght: 8 1/2 x 10 in. Overall: 11 1/2 x 19 in.
Porticus of Octavia, Rome 1928. Drypoint, signed in pencil lower right, initialed and dated in plate lower left: LCR 28. An American architectural etcher and engraver of the 1920's and 1930's era, Louis Conrad Rosenberg first studied at the Massachusetts Institute of Technology. He then enrolled at the Royal College of Art, London, to study etching techniques under Malcolm Osborne. Rosenberg concluded his education in Rome at the American Academy. During his career Rosenberg etched and engraved many architectural views throughout both Europe and the United States. Of major interest however were the buildings of Rome, Venice and Constantinople, and he created an impressive collection of views of these three cities over of period of more than twenty years. Overall size: 19 x 14 in. Sight size: 7 1/2 x 5 1/2 in.
"Troupeau, Paissant, Sous Bois" (Herd Grazing in Undergrowth), oil on canvas, signed lower right. Charles Jacque was among the first generation of painters to leave the city for the forest of Fontainebleau, where he helped to establish the Barbizon School. Also a founding and influential member of the "Men of 1830", a loose movement of artists who, spurred on by the Revolution of 1830, sought out new directions in landscape painting. His strong, realistic, yet sensitive depictions of shepherds and their flocks form one of the most cohesive and important bodies of work produced by the movement.Born in Paris, Jacque began his training in etching rather than painting, as an apprentice to a map engraver. In this area, Jacque was unsurpassed among his colleagues in the Barbizon school. After military service, he went to England, where he worked as an engraver for La Charivari. Returning to France after two years abroad, he made his Salon debut in 1833 and regularly contributed paintings every year until 1870. Winning medals for both etching and painting, he was awarded the Legion d'honneur in 1867.During the 1840s, he and his friend, Jean-Francois Millet moved to the village of Barbizon where they felt they could more realistically portray nature. Jacque bought a house there and, influenced by Diaz's technique and Millet's themes, found his inspiration in hen-houses, pigsties and flocks of sheep at pasture. Jacque left Barbizon in 1854 and continued to paint in the outskirts of Paris until his death.Overall size: 39 x 35 in. Sight size: 24 1/2 x 20 1/2 in. Please note that all sales are final. No refunds will be given under any circumstances.
Jean-Francois Millet (1814- 1875) French, Etching 19th Century This etching by Jean--Francois Millet is titled "Les Glaesus" 1855-56, printed on thin India paper gray/brown ink and depicts two peasants during the potato harvest in Barbizon, with a view of the local church tower in the background. Millet was a French artist and one of the founders of the Barbizon school in France. He was very familiar with farming life because he lived in a farming community in a farming community, and as the eldest son, he had to help his father with the farm-work. It is based on a painting he did in 1857 entitled L’Angelus and displayed at the Musee d’Orsay in Paris. The painting was commissioned by an American art collector in Boston, but the purchaser never came to collect it, so in 1859 Millet added a steeple and changed the title of the work from Prayer for the Potato Crop to The Angelus. The painting finally went on display to the public in 1865. The etching itself is printed in gray / brown ink on thin India paper and signed in the plate on the lower right. It is exquisite and protected by tissue guard on top of the etching. The overall size is 12 1/4 x 15 in. wide and the sight size is 8 3/16 x 9 3/4 in. wide. Please note that all sales are final. No refunds will be given under any circumstances.
Jean-Francois Millet (1814- 1875) French, Etching 19th CenturyThis etching by Jean--Francois Millet is titled L’Angelus and depicts two peasants duringthe potato harvest in Barbizon, with a view of the local church tower in the background.Millet was a French artist and one of the founders of the Barbizon school in France. Hewas very familiar with farming life because he lived in a farming community, and as theeldest son, he had to help his father with the farm-work. It is based on a painting he didin 1857 entitled L’Angelus and displayed at the Musee d’Orsay in Paris. The paintingwas commissioned by an American art collector in Boston, but the purchaser nevercame to collect it, so in 1859 Millet added a steeple and changed the title of the workfrom Prayer for the Potato Crop to The Angelus. The painting finally went on publicdisplay in 1865. The etching itself is printed in gray / brown ink on thin India paper; it isexquisite and protected by tissue guard on top of the etching. The overall size is 12 1/4x 15 in. wide and the sight size is 8 3/16 x 9 3/4 in. wide.Please note that all sales are final. No refunds will be given under any circumstances.
Titled, Star Leg, Etching, 1979, Artist Proof Limited Edition 3/ 15 . 1st State. Handcolored. Rosenquist was an American artist and one of the proponents of the pop art movement. Drawing from his background working in sign painting, Rosenquist's pieces often explored the role of advertising and consumer culture in art and society, utilizing techniques he learned making commercial art to depict popular cultural icons and mundane everyday objects.[1] While his works have often been compared to those from other key figures of the pop art movement, such as Andy Warhol and Roy Lichtenstein, Rosenquist's pieces were unique in the way that they often employed elements of surrealism using fragments of advertisements and cultural imagery to emphasize the overwhelming nature of ads.[2] He was a 2001 inductee into the Florida Artists Hall of Fame 26 x 43 in. Please note that all sales are final. No refunds will be given under any circumstances.
This heliogravure by Salvador Dali is titled The Queen’s Croquet Ground and comes from his Alice in Wonderland series from 1969. Dali was one of the premier surrealists in the world, and there was no better pairing for the avant-garde master of Surrelaism than the fantasy land created by Lewis Carroll in Alice's Adventures in Wonderland. Luckily, an editor at Random House saw the connection and commissioned Dalí to illustrate a limited edition of the classic in 1969. Dalí created twelve heliogravures for the occasion—one illustration for each chapter—as well as a four-color etching as the frontispiece. Only 2,700 of the edition were printed, and the artist signed each original etching. The heliogravure comes with a beautifully engraved passage about Alice and the Queen and the Rabbit engaging in croquet as well. The bottom edge is deckled, it is signed by Dali in the lower right margin, and it is listed as #529 in Prestel’s Dali, Catalogue Raisonne of Etchings and Mixed-Media Prints 1924 - 1980, Vol 1.O 24 x 18 1/2 in.s 17 x 11 1/2 in.Please note that all sales are final. No refunds will be given under any circumstances.
Image of angels surrounding a central saint-like female figure ascending against a distant background. The work of Salvador Dali is associated with the surrealist movement of the 20th Century. In addition to his original works, Dali produced works on paper for reproduction using dry point, etching, woodcut, and lithography. Litho is unnumbered, signed in the plate, on deckled edge paper, beautifully presented in a recessed coved & fluted float frame. Overall size: 26 1/4 x 24 in.Sight size: 13 x 10 1/4 in.
Salvador Dalí Original Edition reverse plate signed etching. entitled "Autumn",it is a beautiful maiden with 2 cherubs celebrating an Autumn Harvest. The sanguine engraving is in very good to excellent condition. This edition is signed Dali inverse in the plate.Overall: 19 x 15 in. Sight: 10 1/2 x 8 1/2 in.
"Veduta della Basilica e Piazza de S. Pietro in Vaticano", (View of the Basilica and St. Peter's Square in the Vatican) Framed etching dated 1748. Piranesi was active in Italy and is known for ancient cityscape etching and painting, modernist figure and cityscape.Overall size: 26 1/2 x 33 1/4 in. Sight size: 16 1/2 x 22 in.
Collection of Pictures including Limited Edition Signed David Shepherd ' On Shed ..... as we remember them in the last days of steam ', 49cms x 90cms, framed and glazed together with +Pair of Prints of Cherubs, Limited Edition Etching ' Textures and Shapes ' 2/70, Oil Painting of River Scene, Watercolour of a Chinese Junk signed Chuen, Watercolour of a Sea View from a Balcony, plus ' Venetie M.D. ' Folder (but containing no illustrations)
Joseph Simpson (1879-1939, official Royal Flying Corps War artist) The Highlander, head and shoulders portrait of a seasoned Highland regiment piper in feather bonnet, drypoint etching, pencil-signed to the lower margin, 65 of 75, in broad card mount and slender ebonized frame under glass, 20 cm x 16 cm impression size, 57 cm x 42 cm framed
AUDUBON, John James (1785-1851).Common Cormorant (Plate CCLXVI)Phalacrocorax CarboEngraving with etching, aquatint and hand-coloring, 1838, on J Whatman Turkey paper watermarked 1835, sheet 25 1/2 x 38 1/4 in. (646 x 974 mm). Thin layer of old adhesive verso, a few short marginal tears, some toning from old framing. Low p.124. Property from the Collection of Brigid McClainFor condition inquiries please contact Gretchen Hause at gretchenhause@hindmanauctions.com
AUDUBON, John James (1785-1851).Florida Cormorant...View Florida Keys (Plate CCLII)Carbo FloridanusEngraving with etching, aquatint and hand-coloring, on J Whatman paper watermarked 1834, sheet 25 3/4 x 38 3/4 in. (657 x 985 mm). 6-in. L-shaped tear to upper margin repaired not affecting image, a few very short marginal tears, some minor marginal toning from old framing, matted and framed. Low p.119 (Variant 1). Property from a Corporate Art CollectionFor condition inquiries please contact Gretchen Hause at gretchenhause@hindmanauctions.com
AUDUBON, John James (1785-1851).American Crossbill (Plate CXCVII)Loxia curvirostra Engraving with etching, aquatint and hand-coloring, 1838, on J Whatman Turkey Mill paper watermarked 1834, sheet 38 x 25 1/2 in. (968 x 648 mm). A few short tears to edges, small loss to upper right corner, some very pale mostly marginal soiling, outer margin slightly toned from old matting, matted and framed. Low p.101 (Variant 1). Property from a Corporate Art CollectionFor condition inquiries please contact Gretchen Hause at gretchenhause@hindmanauctions.com
[BOOKS ABOUT BOOKS]. ADLER, Elmer (1884-1962) and WINTERICH, John T. (1891-1970), editors. The Colophon. A Book Collectors' Quarterly. Vols. 1-18, 20. New York: The Colophon Ltd., Pynson Printers, 1930-1935. 19 volumes, including duplicate numbers of Vols. 2, 4, 6, 7, 8, 10, 11 and 15. Together 27 volumes, 4to. Original printed boards (slight toning and soiling, light rubbing to extremities); several vols. with original glassines (some tearing with loss). Publisher 's ephemera laid in. FIRST EDITIONS, a nearly complete run of the periodical lacking only vol.19, including the often lacking color drypoint etching entitled "Hilltop" SIGNED BY DAVID B. MILNE in pencil lower margin in vol.V and the color woodcut print "An Eagle Ceremony at Tesuque Pueblo" by Gustave Baumann in vol.XII. [With:] The Colophon. New Series. Vol.I Nos.1-4, Vol.III no.2. New York: Pynson Printers, 1935-1936, 1938. 5 volumes, including duplicate numbers of Vol.I nos. 3-4 and Vol.III no. 2. Together 8 volumes, 8vo. Original publisher 's printed boards or cloth; original glassine to one vol. (tearing with loss). FIRST EDITIONS. -- The Annual of Bookmaking 1927-1937. New York: Pynson Printers, 1938. 4to. Original publisher 's cloth stamped in silver and black (slight darkening to spine). FIRST EDITION. -- The Colophon. New Graphic Series. New York: Pynson Printers, 1940. Vol.I No.4. 4to. Original publisher 's cloth (slight toning to extremities). FIRST EDITIONS.For condition inquiries please contact Gretchen Hause at gretchenhause@hindmanauctions.com
FOLON, Jean-Michel (1934-2005). Affiches de Folon. Geneva: Alice Editions, 1978. Folio. Original color etching in aquatint SIGNED AND NUMBERED BY FOLON in pencil lower margin 156/200. 25 reproductions of posters by Folon, loose as issued in original portfolio. Original printed cardboard wrappers with cloth ties (some light fraying to ties). LIMITED EDITION, number 156 of 200 copies. Property from the Collection of Michael and Kay MeletFor condition inquiries please contact Gretchen Hause at gretchenhause@hindmanauctions.com
GOREY, Edward (1925-2000). Insect on Unicycle. Zurich: Diogenes Verlag, 1978.Etching, on Arches paper, 14 x 11 3/4 in., SIGNED BY GOREY and numbered in pencil lower margin, 5/120. (Cloth tape from framing upper margin verso.)One of 6 etchings created by Gorey and distributed by Diogenes Verlag in 1975, each consisting of 120 Arabic numbered and 20 Roman numbered copies. Though the etchings were sold individually, they are considered a set. VERY RARE: according to online records, no complete set of all 6 etchings has ever sold at auction, and only one copy of this etching has ever sold at auction. See Goreyana Blogspot, 4 April 2011. Property from the Collection of Thomas J. BarrettFor condition inquiries please contact Gretchen Hause at gretchenhause@hindmanauctions.com
GOREY, Edward (1925-2000). Child and Elephant Table. Zurich: Diogenes Verlag, 1978. Etching, on Arches paper, 14 x 11 3/4 in., SIGNED BY GOREY and numbered in pencil lower margin, 5/120. (Small surface abrasions to margins verso, cloth tape from framing upper margin verso, small pale stain upper margin.) According to Rick Jones of the Edward Gorey House, the common title for this etching, "Baby seated Under Rolling Elephant," is incorrect. This correct title appears in the original Diogenes brochure for this set of prints. One of 6 etchings created by Gorey and distributed by Diogenes Verlag in 1975, each consisting of 120 Arabic numbered and 20 Roman numbered copies. Though the etchings were sold individually, they are considered a set. VERY RARE: according to online records, no complete set of all 6 etchings has ever sold at auction, and no copy of this etching has ever sold at auction. See Goreyana Blogspot, 4 April 2011. Property from the Collection of Thomas J. BarrettFor condition inquiries please contact Gretchen Hause at gretchenhause@hindmanauctions.com
Signed, titled and numbered 30/160 in pencil in the margin, a two-plate etching.plate size 37.5cm x 25cm (14.75in x 9.75in)Condition report: The print is in very good, original condition with no obvious faults to report. The print is framed and glazed. There is a minor water stain running along the top edge of the mountboard and the frame has some minor scuffs and scratches.
1979, signed, titled and numbered 31/150 in pencil in the margin, published by Christie's Contemporary Art and printed by J.C. Editions on Arches paper, with both blindstamps, with full margins, etching and aquatint.sheet size 57.5cm x 76.5cm (22.5in x 30in)Footnote: Artists’ Resale Right (“droit de suite”) may apply to this lot.Condition report: The print is in good, original condition with strong colours and no obvious faults to report. The print has been laid down. There is some very light time staining and browning around the edges of the sheet. The print is framed and glazed.
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