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Click here to subscribeDavid Hockney (b.1937)The Tower Had One Window, from Illustrations for Six Fairy Tales from the Brothers Grimm (MCA Tokyo 82)Etching, 1969, signed in pencil, from the edition of 100, printed by The Print Shop, Amsterdam, published by Petersburg Press, London, on Hodgkinson watermarked paper, with full margins, sheet 440 x 300mm (17 1/4 x 11 3/4 in)
Henry Moore (1898-1986)Two Seated Figures II (Cramer 56)Drypoint with etching, 1966, signed and dated in pencil, numbered from the edition of 50, printed by Frélaut and Lacourière, Paris, published by Gérald Cramer, Geneva, on Japan paper, with full margins, sheet 330 x 400mm (13 x 15 3/4in)
Pablo Picasso (1881-1973)Reclining Man in Turban and Belly Dancer (Bloch 1458)Etching with drypoint, 1968, with the artist's stamped signature, numbered from the edition of 50 in pencil, on BFK Rives paper, with full margins, image 223 x 322mm (8 3/4 x 12 5/8in); sheet 378 x 472mm (15 x 18 1/2in)
Frank Auerbach (1931-2024)Julia (Hartley 22)Etching, 1994, signed, dedicated and dated in pencil, inscribed ‘Proof’, a proof impression aside from the edition of 30, published by Marlborough Graphics, London, on Somerset white wove paper, with full margins, sheet 273 x 300mm (10 3/4 x 11 3/4in)
David Hockney (b.1937) The Haunted Castle, from Illustrations for Six Fairy Tales from the Brothers Grimm (MCA Tokyo 89)Etching with aquatint, 1969, signed in pencil, inscribed edition D and numbered from the edition of 100 in bistre verso, printed by The Print Shop, Amsterdam, published by Petersburg Press, London, on Hodgkinson watermarked paper, the sheet printed to the edges, sheet 455 x 310mm (17 7/8 x 12 1/4in)
Anni Albers (1899-1994)Triangulated Intaglio IEtching with aquatint, 1976, signed and dated in pencil, numbered from the edition of 20, printed and published by Tyler Graphics Ltd., Bedford Village, with their blindstamp, on Arches paper, with full margins, sheet 605 x 500mm (23 3/4 x 19 3/4in)
Joe Tilson (1928-2023)Earth Cube II (Di Martino p.122)Etching with aquatint, carborundum, stencil and collage, 1981, signed and dated in pencil, inscribed 'Artist's Proof 8/10', one of ten artist's proofs aside from the edition of 60, printed by Grafica Uno, Milan, published by Waddington Graphics, London, on wove paper, with full margins, sheet 1143 x 984mm (45 x 38 3/4in)Ex. coll. Leslie Waddington
Salvador Dalí (1904-1989)Les Entre-plats sodomisés, from Les Dîners de Gala (Field 77-5D; M&L 1343)Photolithograph printed in colours and etching, 1971, signed in pencil, numbered from the edition of 395, printed by Draeger, Paris, published by Lavigne, Bologna, on BFK Rives wove paper, with full margins, sheet 557 x 745mm (22 x 29 3/8in)With the Dali Trade authentication inscription and signature in pencil verso.
Henry Moore (1898-1986)Reclining Figures Man and Woman II (Cramer 362) Etching with aquatint printed in colours, 1975, signed in pencil, numbered from the edition of 100, printed by Michael Rand, London, published by Gérald Cramer, Geneva, on BFK Rives paper, with full margins, sheet 308 x 232mm (12 1/8 x 9 1/8in)
Salvador Dalí (1904-1989)Soft Watches Half Asleep, from Les Dîners de Gala (Field 77-5H; M&L 1335) Photolithograph printed in colours and etching, 1971, signed in pencil, numbered from the edition of 395, printed by Draeger, Paris, published by Lavigne, Bologna, on BFK Rives wove paper, with full margins, sheet 557 x 745mm (22 x 29 3/8in) With the Dali Trade authentication inscription and signature in pencil verso.
Graham Sutherland (1903-1980) The Meadow Chapel (Tassi 26) Etching, 1928, signed in pencil, from the edition of 82, published by The Twenty-One Gallery, London, on Whatman wove paper, with wide (possibly full) margins, sheet 167 x 198mm (6 5/8 x 7 3/4in) Provenance: With Leicester Galleries, where acquired by Eardley Knollys in mid-1960s; Bequeathed to Mattei Radev
Salvador Dalí (1904-1989)Vignette, from Petits Nus d 'Apollinaire (Field 72-4H; M&L 203)Etching with drypoint hand-finished with watercolour and gold, 1972, signed in pencil, numbered from the edition of 95, printed by Robbe, published by Editions Argillet, Paris, on Japan paper, with full margins, sheet 390 x 288mm (15 3/8 x 11 3/8in)
Mid-Late XIX Century English Percussion Side Lock Pistol, with folding bayonet, top of barrel engraved by Crickmay Portsmouth, ornate etching to hammer, case, trigger guard and muzzle with stirrup ramrod.Pistol Length approximately 24cm, pistol length with bayonet extended approximately 32cm
A mid-19th century botanical watercolour study of 'Polygonum aviculare', common knotgrass, watercolour on paper, inscribed l.l., attributed to Anna Ravens (backing label), 19.5 by 15.5cm, Walter Dendy Sadler (British, 1854-1923), 'For Fifty Years', etching of a happily married couple, 41.5 by 57cm, after George Morland (British, 1763-1804) 'Woodcutters', 19th century print, together with another period colour print (4)
A 19th Century map of Carlisle, watercolour tinted etching, originally published in "Municipal corporation boundaries (England and Wales). Report of the commissioners appointed to report and advise upon the boundaries and wards of certain boroughs and corporate towns", 1837, in card mount and ebonised frame under glass, 45 x 32 cm overall together with related printed leaf
* Gould (John & Elizabeth). Snow Goose [1832 - 37], lithograph with contemporary hand-colouring, originally published in 'The Birds of Europe', 350 x 525 mm, mounted, framed and glazed, together with Botaurus Stellaris [1862 - 73], lithograph with contemporary hand-colouring, originally published in 'The Birds of Great Britain', 350 x 515 mm, mounted, framed and glazed, with Selby (John Prideaux). Black Scoter Male [1821 - 34], etching with contemporary hand-colouring, originally published in 'Illustrations of British Ornithology', 380 x 535 mm, verre eglomisé mount, framed and glazed, plus Keulemans (J. G.). Harlequin Duck, Red-Necked Grebe, Scaup, Velvet Scoter, Long-tailed Duck [and] King Eider [1881 - 96], six lithographs of ducks and waterfowl, all with contemporary hand-colouring, each approximately 270 x 225 mm, uniformly mounted, and Foster (W. after). Fourteen prints of Birds, circa 1890, chromolithographs, each approximately 135 x 215 mm, uniformly mounted, framed and glazedQTY: (23)
Mehdi Ghadyanloo (Iranian 1981-), 'Spaces Of Hope', etching on wove paper, signed, titled, and numbered from an edition of 50 in pencil; sheet: 45.5 x 45.5cmsheet: 45.5 x 45.5cmIn very good condition No knocks or tears to the sheet Very minor creasing to left hand corners of the sheet, visible upon close inspection Deckled edges in good condition This work has been stored flat and has not been framed.
Harland Miller (British 1964-), 'In Shadows I Boogie', 2019, etching and letterpress relief on wove paper, signed in pencil front, numbered from an edition of 100 verso, accompanied by the Artist's Monograph book published by Phaidon; sheet: 32 x 22cmARR sheet: 32 x 22cm In very good condition No knocks, tears or creases to the sheet Stored flat inside slipcase and accoumpanied by Artist's Monograph book Some minor wear to outer book box.
Albany E Howarth(1872-1936)"Winchester West Gate" and "St Giles, Edinburgh",pencil signed to the margin,etchings,40 x 27.5cms and 39 x 20cms, in frames,together with;Andrew Fairbairn Affleck(1874-1935)Cathedral interior with figures,pencil signed to margin,etching,61 x 41.5cms, in frame. (3)
* CHARLES MURRAY (SCOTTISH 1894 - 1954), RAIN, PORT BANNATYNE, BUTE drypoint etching on paper, signedmounted, framed and under glassimage size 17cm x 25cm, overall size 38cm x 45cm Provenance: The Scottish National Gallery of Modern Art hold a copy of "Rain, Port Bannatyne, Bute" (purchased in 1964). Their website suggests a date of 1930.Note: Charles Murray was born in Aberdeen and studied at the Glasgow School of Art for three years. He served with the ‘White Army’ in Russia from 1918-20, joining a diverse group of counter-revolutionary forces who fought against the Bolsheviks. On his return to Glasgow, Murray won the highly coveted "Prix de Rome" for etching and studied at the British School in Rome from 1922-25. He travelled extensively in Europe but came back to Scotland in 1926 to teach engraving at the Glasgow School of Art (where he taught and inspired Ian Fleming RSA RSW RGI), and later lived in Leeds and Middlesex. He produced paintings and etchings in a style influenced by Mannerism. Murray had his first major one-man show at The Leicester Galleries (London) in 1946 and another at Batley Art Gallery in 1950. There was a Memorial exhibition at Temple Newsam House (Leeds Museum & Art Galleries) in 1955 and an Edinburgh International Festival show at the Merchant Company Hall in 1977. Murray's paintings have always attracted academic acclaim and the Tate bought one of his paintings in 1940. His work is held in UK Public collections including at Glasgow Museums & Art Galleries, the Arts Council Collection (Southbank Centre), Bradford Museum & Galleries, the Ferens Art Gallery, The Hepworth, Leeds Art Gallery and Museums, Kirklees Museum & Galleries, Sheffield Museums, Aberdeen Art Gallery & Museums and Tate (London).
* IAN FLEMING RSA RSW RGI (SCOTTISH 1906 - 1994), UNTITLED etching on paper, studio stamp verso, no. 161mounted, framed and under glass image size 37cm x 50cm, overall size 52cm x 62cm Provenance: the artist's studio sale.Note: Ian Fleming was born in Glasgow and studied drawing, painting and printmaking at Glasgow School of Art. After graduating, he worked with etcher Charles Murray, and then travelled on an art school scholarship to London, Paris and Spain. In 1931 Fleming started teaching at Glasgow School of Art. During this time he met William Wilson, with whom he exchanged print-making ideas. He served in the police and army during the second world war and continued sketching and printmaking throughout. Notable are the prints he made of the Glasgow blitz. After the war Fleming taught again at Glasgow School of Art and at Hospitalfield, Arbroath. At this time he moved towards painting, rather than print-making, producing landscapes, harbours and portraits both in oil and watercolour. Fleming was principal of Gray's School of Art between 1954 and 1971. He continued in printmaking after his retirement. He died at Aberdeen.
* IAN FLEMING RSA RSW RGI (SCOTTISH 1906 - 1994), UNTITLED etching on paper, studio stamp verso, no. 171mounted, framed and under glass image size 37cm x 50cm, overall size 61cm x 77cm Provenance: the artist's studio sale.Note: Ian Fleming was born in Glasgow and studied drawing, painting and printmaking at Glasgow School of Art. After graduating, he worked with etcher Charles Murray, and then travelled on an art school scholarship to London, Paris and Spain. In 1931 Fleming started teaching at Glasgow School of Art. During this time he met William Wilson, with whom he exchanged print-making ideas. He served in the police and army during the second world war and continued sketching and printmaking throughout. Notable are the prints he made of the Glasgow blitz. After the war Fleming taught again at Glasgow School of Art and at Hospitalfield, Arbroath. At this time he moved towards painting, rather than print-making, producing landscapes, harbours and portraits both in oil and watercolour. Fleming was principal of Gray's School of Art between 1954 and 1971. He continued in printmaking after his retirement. He died at Aberdeen.
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![* Gould (John & Elizabeth). Snow Goose [1832 - 37], lithograph with contemporary hand-colouring, originally published in](https://cdn.globalauctionplatform.com/dcdfb2a2-ff68-4e77-89d0-b23500e1190f/3ed137ee-d074-4483-8c98-b2370105f8c1/468x382.jpg)
