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Lot 3014
Etching of cruiser, tug boats and other vessels in a river, indistinctly signed in pencil to margin, 17 x 30.5cm, a print of an etching by R. E. Roe of a ship, titled 'Off Gravesend', published in 1888 by Raphael Tuck & Sons, 17 x 11.5cm; a Dutch hand-coloured engraving of 'A View of Amsterdam taken from the Old Rampart', 26 x 38.5cm; and a Dutch hand-coloured print of figures by a lake titled 'Gezigt Van Krimpen Aan de Lec', 33.5 x 43.5cm (4 in lot)
Lot 1171
(See English version below)„Die Fragwürdigkeit des Ruhmes“. 1980Radierung auf Velin. 46,8 × 33 cm (76 × 56 cm) ( 18 ⅜ × 13 in. (29 ⅞ × 22 in.)). Signiert.Wesselowski 33.–Einer von 80 nummerierten Abzügen. Paris, Galerie Aimé Maeght. [3033]Zustandsbericht: Ex. 28/80. In gutem Zustand. Die Blattkanten ohne Einrisse oder Fehlstellen. Schöner harmonischer GesamteindruckWir berechnen auf den Hammerpreis 30% Aufgeld."Die Fragwürdigkeit des Ruhmes". 1980Etching on wove paper. 46,8 × 33 cm (76 × 56 cm) ( 18 ⅜ × 13 in. (29 ⅞ × 22 in.)). Signed.Wesselowski 33 .–One of 80 numbered prints. Paris, Galerie Aimé Maeght. [3033]Condition report: No. 28/80. In good condition. The sheet edges without tears or losses. Fine harmonious overall appearanceWe charge 30% premium on the hammerprice.
Lot 1180
(See English version below)„Selbstbildnis“. 1912Aquatinta und Vernis Mou auf Papier. 14 × 10 cm (31,5 × 23,3 cm) ( 5 ½ × 3 ⅞ in. (12 ⅜ × 9 ⅛ in.)). Signiert.von dem Knesebeck 126 VII.c. (von d).–Einer von 30 Abzügen. Dresden, Emil Richter, um 1920. [3268]Zustandsbericht: Schöner harmonischer Gesamteindruck. Die Blattkanten ohne Einrisse oder Fehlstellen, die Ecken minimal bestossen. Der breite Rand mit leichten Spuren vom Anheben. In der linken oberen Ecke und rechten unteren Ecke schwache bräunliche Flecken. Im unteren Randbereich mittig ein länglicher, schmaler Fleck. Unter UV-Licht sind vereinzelt weiße Flecken erkennbar. Rückseitig an den oberen Ecken Reste alter KlebemontierungWir berechnen auf den Hammerpreis 30% Aufgeld."Selbstbildnis". 1912Aquatint and soft ground etching on paper. 14 × 10 cm (31,5 × 23,3 cm) ( 5 ½ × 3 ⅞ in. (12 ⅜ × 9 ⅛ in.)). Signed.Von dem Knesebeck 126 VII.C. (of d).–One of 30 prints. Dresden, Emil Richter, circa 1920.. [3268]Condition report: Fine harmonious overall appearance. The sheet edges without tears or losses, the corners minimally bumped. The wide margin with light traces caused by lifting. In the upper left corner and right lower corner faint brownish stains. In the lower margins in the centre a longish, narrow stain. Ultraviolet light reveals isolated white stains. On the reverse in the upper corners remains old mounting residueWe charge 30% premium on the hammerprice.
Lot 1193
(See English version below)„Gartenallee mit Haus“. 1922Radierung auf Papier. 20 × 14,8 cm (26,6 × 20,3 cm) ( 7 ⅞ × 5 ⅞ in. (10 ½ × 8 in.)). Signiert.Schiefler 346 IV c (von c).–Einer von 200 Abzügen. Für die Vorzugausgabe zu Hans Wolff: Zeichnungen von Max Liebermann. Dresden, 1922. Arnolds Graphische Bücher, Zweite Folge, Band 4. [3210]Zustandsbericht: In gutem Zustand. Die Blattkanten ohne Einrisse oder Fehlstellen. Oben links ein winziger, brauner Fleck. Rückseitig in den Ecken und oben mittig Reste von der alter Papiermontierung und in den oberen Ecken mit Japanpapier auf den Unterlagkarton montiert. Schöner harmonischer GesamteindruckWir berechnen auf den Hammerpreis 30% Aufgeld."Gartenallee mit Haus". 1922Etching on paper. 20 × 14,8 cm (26,6 × 20,3 cm) ( 7 ⅞ × 5 ⅞ in. (10 ½ × 8 in.)). Signed.Schiefler 346 IV c (of c).–One of 200 prints. For the special edition by Hans Wolff: Zeichnungen von Max Liebermann. Dresden, 1922. Arnolds Graphische Bücher books, second set, volume 4. [3210]Condition report: In good condition. To the upper left a minuscule, brown stain. On the reverse at corners and at the top in the centre residue of former mount. On the reverse mounted in the upper corners with Japan tissue on cardboard. Fine harmonious overall appearance. (SP)We charge 30% premium on the hammerprice.
Lot 1199
(See English version below)„Un cavaliere“. 1954Radierung auf Velin. 35,3 × 29,5 cm (51 × 38 cm) ( 13 ⅞ × 11 ⅝ in. (20 ⅛ × 15 in.)). Signiert.Guastalla 97.–Einer von 6 nummerierten Künstlerabzügen außerhalb von 68 Exemplaren. [3197]Zustandsbericht: Ex. E.C. 5/6. Schöner harmonischer Gesamteindruck. Unten rechts ein kleiner Einriss (3 cm). Das Papier im Passepartoutausschnitt minimal gebräunt. Vereinzelt winzige hellbraune Fleckchen. Das Blatt entlang der Blattkanten mit Papierklebeband am Unterlagekarton montiertWir berechnen auf den Hammerpreis 30% Aufgeld."Un cavaliere". 1954Etching on wove paper. 35,3 × 29,5 cm (51 × 38 cm) ( 13 ⅞ × 11 ⅝ in. (20 ⅛ × 15 in.)). Signed.Guastalla 97.–One of 6 numbered artist's proofs outside of 68 copies. [3197]Condition report: No. E.C. 5/6. Fine harmonious overall appearance. Lower right one small tear (3 cm). The paper within the passepartout cut out shows minimal time staining. Isolated minuscule light brown stains. Along the sheet's edges mounted with paper tape on cardboardWe charge 30% premium on the hammerprice.
Lot 1212
(See English version below)Ohne Titel. Farbradierung auf Velin. 69,3 × 79,2 cm (76,1 × 99,7 cm) ( 27 ¼ × 31 ⅛ in. (30 × 39 ¼ in.)). Signiert.Einer von 25 nummerierten Abzügen. [3218]Zustandsbericht: Ex. 17/25. Schöner harmonischer Gesamteindruck. Die Blattkanten ohne Einrisse oder Fehlstellen. Das Papier unterhalb des Passepartouts schwach gebräunt. An den Blattkanten vereinzelt schwache Knickspuren. Unten rechts 2 kurze Kratzspuren (max. 3 cm). Rückseitig an den Seitenrändern auf den Unterlagekarton montiertWir berechnen auf den Hammerpreis 30% Aufgeld.Untitled. Colour etching on wove paper. 69,3 × 79,2 cm (76,1 × 99,7 cm) ( 27 ¼ × 31 ⅛ in. (30 × 39 ¼ in.)). Signed.One of 25 numbered prints. . [3218]Condition report: No. 17/25. Fine harmonious overall appearance. The sheet edges without tears or losses. The paper below the passepartout shows minor browning. Along the sheet's edges isolated faint creases. At the bottom right 2 short scratch marks (max. 3 cm). On the reverse mounted along the margins on cardboardWe charge 30% premium on the hammerprice.
Lot 1222
(See English version below)„Vertiefung mit Bewölkung“. 1985/865 Blatt: Jew. Kaltnadelradierung über Heliogravur auf Velin. Bis zu 47 × 31 cm (56, 3 × 39,8 cm) ( 18 ½ × 12 ¼ in. (56, 1 ⅛ × 15 ⅝ in.)). Von beiden Künstlern signiert.Jeweils einer von 50 nummerierten Abzügen. Serie von 5 Radierungen. Ohne die dazugehörige Mappe und dem Textblatt. Wien/Düsseldorf, Galerie Heike Curtze und München, Maximilian Verlag Sabine Knust, 1986. [3171]Zustandsbericht: Ex. 5/50. In gutem Zustand. Die Blattkanten ohne Einrisse oder Fehlstellen. Vereinzelt leichte Knickspuren vom Anheben und minimal unfrisch. Schöner harmonischer GesamteindruckWir berechnen auf den Hammerpreis 30% Aufgeld."Vertiefung mit Bewölkung". 1985/865 sheets: each drypoint etching over photogravure on wove paper. Up to 47 × 31 cm (56, 3 × 39,8 cm) ( 18 ½ × 12 ¼ in. (56, 1 ⅛ × 15 ⅝ in.)). Signed by both artists.Each one of 50 numbered prints. Series of 5 etchings. Without the accompanying portfolio and the text sheet. Vienna/Düsseldorf, Galerie Heike Curtze and Munich, Maximilian Verlag Sabine Knust, 1986. [3171]Condition report: No. 5/50. In good condition. The sheet edges without tears or losses. Isolated slight handling creases and minimally soiled. Fine harmonious overall appearanceWe charge 30% premium on the hammerprice.
Lot 428
AFTER GEORGE CRUIKSHANK, INCONVENIENCES OF A CROWDED DRAWING ROOM, hand-coloured etching, pub. Thomas McLean, 1835, framed. 24.5cm by 34.5cmThe absence of a Condition Report does not imply that a lot is without imperfections. Please note carefully the exclusion of liability for the condition of lots contained in the Conditions of Sale.Slightly faded. Some brown spotting.
Lot 135
Adriaen Jansz Van Ostade (Dutch 1610 - 1685), Das Tischgebet (Bartsch 34) Etching, 1653 Plate: 14.9 x 12.4cm (5¾ x 4¾ in.) Condition Report: The sheet has been laid down to backing mount and trimmed at the plate edges. There is some light discolouration to the sheet together with handling surface dirt - predominantly to the extreme edges. Some light undulation to the sheet which has occurred on account of it being stuck down. Condition Report Disclaimer
Lot 14
Jacques Villon, Buste de femme (after André Derain), 1922, Colour etching with aquatint Signed in pencil and inscribed and dated 1922 60 x 48.5cm (23½ x 19 in.) Unframed Condition Report: Unframed. Surface dirt and scuffs to the sheet edges. Otherwise no significant condition issues Condition Report Disclaimer
Lot 63
Mordecai Moreh (Israeli French, b.1937), The great ancestor Drypoint etching AP, signed and inscribed 35.5 x 53.5cm (13¾ x 21 in.) Unframed together with; Sami Zilkha (Israel, b.1936 Iraq). David the blind violinist. Pen, ink and watercolour Signed and inscribed and dated 88, impressed paper mark 51cms by 71.5cms Unframed- set in a loose slip mount 85.5cms wide Condition Report: Moreh- Generally good- mild cockling to paper. Zilkha- Mount contact with paper has slipped and with loose fixing tape showing- paper not protected and with some surface wear and dirt. Condition Report Disclaimer
Lot 236
English Judge and favourite of Elizabeth I.- Hollar (Wenceslaus) Portrait of John Clench (d. 1607), first published in Sir Dugdale's 'Origines Juridiciales', etching and engraving on laid paper with large Strasbourg lily watermark, sheet 292 x 201 mm (11 1/2 x 8 in), trimmed within platemark, small nicks and tears to edges, minor cockling and surface dirt, old adhesive residue verso, and pencil inscripton that reads 'Scarce, most burnt at Fire London 1666', unframed, 1664Literature:Pennington, 1376
Lot 238
Rembrandt.- Norblin de La Gourdaine (Jean-Pierre) The sermon of St John the Baptist, etching after Rembrandt on Hallines laid paper with watermark and countermark, bears erroneous signature and date in the plate 'Rembrandt/ 1656', sheet 505 x 635 mm (19 7/8 x 25 in), several tears and splits to edges, damage to corners, handling creases, some areas of minor wear, unframed, [1808]; together with 10 further etchings after Rembrandt, including three impressions of two variant states of George Bickham the Younger's Three Crosses', various sizes, all unframed, [18th century and later] (11)
Lot 239
Covent Garden coffee-house.- Anonymous. A Monument for Tom K-G, satire on Tom King, owner of a notorious coffee-house, etching and engraving, on laid paper presented on wove support and inset into paper mount with ruled ink border lines, 317 x 195 mm (12 1/4 x 7 3/4 in), trimmed, some small losses and nicks, handling creases, unframed, [circa 1737]; together with three others, including two impressions of Sutton Nicholls' satirical broadside on drinking societies, An extempore sermon preach'd by Fredrick Fiery-Face. Mr of Arts and Fellow of Malt-Juice Colledge, one impression with early hand-colouring, and with the Bowles & Carver satire after Hogarth, A Man loaded with Mischief, or Matrimony. A Monkey, a Magpie, and Wife; Is the true Emblem of Strife, various sizes, all trimmed with handling creases, nicks, tears and small areas of loss, unframed, [18th century] (4)
Lot 241
Gillray (James) Spouting. "Strike home! and I will bless thee for the Blow!", etching with hand-colouring on wove paper without watermark, platemark 345 x 250 mm (13 1/2 x 9 7/8 in), sheet 425 x 310 mm (16 3/4 x 12 1/4 in), damp-staining and surface dirt, some light cockling and exposure lines from old mount, unframed, 1792; together with four satirical prints from Tristram Shandy after Henry Bunbury, including The Damnation of Obadiah, The Overthrow of Dr Slop, The Battle of the Cataplasm, The Siege of Namur, and Bretherton's The Village Barber, after Bunbur, possibly a later impression, etchings with hand-colouring, the first four mentioned on wove paper, trimmed, handling creases, nicks and tears, all unframed, [19th century] (6)
Lot 242
Rowlandson (Thomas) The Dunghill cock and game pullet or Boney beat out of the Pitt, etching with hand-colouring on wove paper, sheet 240 x 340 mm (9 1/2 x 13 1/4 in), upper left margin with restored loss, some browning and exposure lines, unframed, [Not in BM Satires], Thomas Tegg, 1810; together with 11 further caricatures, including Piercy Roberts' A Military Salutation [BM 10912], Charles Williams' Political quacks, or the Erfurth copartnership commencing business [BM 11054], an anonymous work The State Nursery [BM 4133], The Peace Offering, The British Bull Baited by Mungrels, and others, various condition issues throughout, all unframed, [mainly 19th century] (12)
Lot 90
NO RESERVE Low Countries.- Hills (Robert) [Sketches in Flanders and Holland with some account of a tour through parts of those countries shortly after the battle of Waterloo], 32 loose plates only (of 36), etching and aquatint on Whatman wove paper, two sheets with hand-colouring, each sheet approx. 290 x 445 mm (11 1/2 x 17 1/2 in), occasional spotting and minor surface dirt, unframed, [Abbey 186], [1816].
Lot 156
Valerie Thornton (1931-1991) 'St Giles' etching, artist proof, signed in pencil 35cm x 47cm, 'Etruscan' etching numbered 49/50, signed and dated '83 lower right, 36cm x 46cm, 'Lanerscost' numbered 64/70, signed and dated in pencil '75, 38cm x 25.5cm and one other numbered 8/50, signed in pencil lower right, 52cm x 36cm (4)
Lot 65
IAN SINCLAIR: HACKNEY THAT ROSE-RED EMPIRE, ill Una Grimes, London, Hamish Hamilton/London Review Bookshop, 2009, (50) (45), numbered and signed, original black cloth backed watered silk, original solander box containing etching by Una Grimes, folding map of Hackney and a holograph postcard with original text by the author as called for, vgc
Lot 3032
Collection of six paintings and prints, comprising: Derek Wilkinson (1929-2001), Evening Cedar, signed artist proof etching; two signed watercolours by Norman Jackson (snowy landscape and lakeside scene); an amateur watercolour of a village in hilly landscape; a large limited edition print of yachts signed by John Steven Dews and numbered 180/860; a watercolour of rocks in landscape by T. Pontrelli. All framed & glazed (6)
Lot 3045
Collection of eight caricatures, comprising: five John Doyle "HB" lithographs (four hand-coloured; two bearing Thomas McLean blind-stamp): Lame Leading the Blind, An Odd Fysh, Voluntary Principle, Peelades, Rivals, each one framed & glazed; James Gillray, A Little Music - or - the Delights of Harmony, hand-coloured etching, Bohn edition with the number removed, originally published 20 May 1810 by Hannah Humphrey, mounted, unframed; Doctor Syntax Drawing After Nature, 1813 Ackermann plate, framed & glazed; Tom Merry lithograph for St Stephen's Review Presentation Cartoon 1886, Mr Gladstone and His Clerks, framed & glazed (8)
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71174 item(s)/page