SALVADOR DALÍ (1904-1989)Song of Songs of Solomon (M./L. 468-479; F. 71-17), 1971, the complete portfolio, comprising 12 etchings in colours with stencil and gold dust, each signed in pencil, numbered on the colophon 248/250, on Arches paper (there were also 6 copies on parchment and 44 copies on Japon, both in Roman Numerals, and 20 hors commerce designated A-T), with the blindstamp of the publisher Leon Amiel, New York, printed by Jacques David, Paris, with full margins, folded and loose (as issued), original blue cloth-covered boards and slipcase with cast lead medallion stamped by Hôtel des Monnaies, Avignon, title in green on the leather spine, each etching mounted for framing.Titles include: King Solomon; The Kiss; The Shepherd; The King's Train; The Dovelike Eyes of the Bride; The Bridegroom Leaps upon the Mountains; The Beloved Looks Forth Like a Roe; The Beloved is as Fair as a Company of Horses; Thou art Fair, My Love, and Thy Breasts; The Beloved Feeds Among the Lilies; The Fruits of the Valley; Return, O Shulamite, each 29.8 x 24.8cm (11 3/4 x 9 3/4in). (sheets 65.4 x 50.2cm)(12 works)This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
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Prostitution.- The Mail Dilly for the Accomodation of the Public, etching and engraving on laid paper, platemark 210 x 160mm., stained, creases, lightly browned, unframed, [Not in BM Satires], Printed for Jn. Smith Cheapside, 1789.⁂ Rare. The professional lady pictured is compared to a carriage picking up and dropping off paying 'passengers'. 'Carries only one inside...the money to be paid before you enter the carriage...Setts out every Evening from Marylebone, calls at Drury Lane & Covent Garden, also at the Israelite Coffee house...The carriage is fresh painted, hung on springs lined with velvet. Warm & Comodious within & travels what pace the Passenger chuses [sic.]'.
NO RESERVE Lecuire (Pierre).- de Staël (Nicolas) Lettres...a Pierre Lecuire, facsimile reprint incoporating comments by Lecuire written in 2008 and signed by him, signed presentation copy from Lecuire inscribed at end and with mounted photograph of Lecuire writing his comments, mounted photographic portrait of de Staël at beginning and other facsimile items tipped in, loose as issued in original colour linocut wrappers by de Staël, uncut, board folder and slip-case, slip-case damaged, Paris, 2008 § de Staël (Françoise) Nicolas de Staël: Catalogue Raisonné des Oeuvres sur Papier, illustrations, original cloth, dust-jacket, Lausanne, 2013 § Livres de Pierre Lecuire, signed and inscribed by Lecuire, illustrations, some colour, original wrappers, Paris, 2001 § Gagarine (Mila) Poèmes, number 58 of 50 copies with 2 etchings and signed by the author and artist, from an edition limited to 110, 2 etchings by Charchoune, with an additional signed etching on Japon, loose as issued in original wrappers, uncut, glacine wrapper, slip-case, Paris, 1969; and 4 others about Lecuire and/or de Staël, limited edition booklets produced by Christopher Hewett of the Taranman Gallery, v.s. (8)⁂ In November 2006 Lecuire added comments to copy No.1 of his publication of de Staël's letters of 1966, as shown in the photograph, and then produced a facsimile of the annotated work. His inscription in this copy reads, "...En manière de dédicace...un recueil de lettres est comme un labyrinthe. Seuls, les coeurs purs en aperçoivent l'étendue, la raison, l'issue. Amicalement Paris 27 Nov. 08. Pierre Lecuire".
Italy.- Venice.- Whistler (James Abbott McNeill) Little Salute, etching and drypoint, a good impression of the final state (of 3) with the artist's butterfly monogram, wiping marks and selective plate tone, signed in pencil on tab, sheet 80 x 210 mm (3 1/8 x 8 1/4 in), under glass, minor surface dirt and browning, framed, [circa 1880]Provenance:Thomas Agnew & Sons Ltd., London (no. 447198)H.S. Theobald [cf. L. 1375]P. & D. Colnaghi & Co, LondonExhibited:Knoedler & Co., New York, 1907, no. 10Literature:Kennedy 220 ii/ii; University of Glasgow, no. 210 iii/iii
Italy.- Venice.- Whistler (James Abbott McNeill) The Fishing Boat, etching with drypoint, a good impression of the final state before cancellation of the plate (of 6), signed in pencil on tab, sheet 149 x 225 mm (5 3/4 x 8 7/8 in), under glass, some even toning and surface dirt, framed, [circa 1880]Provenance:Unidentified collector's blindstamp lower leftLiterature:Kennedy 208; University of Glasgow, no. 198 vi/vi
Whistler (James Abbott McNeill) The Music Room, etching and drypoint, a good impression of Kennedy's final state (of 2), platemark 145 x 212 mm (5 3/4 x 8 1/2 in), under glass, minor surface dirt, framed, [1859]Provenance:P. & D. Colnaghi & Co, LondonLiterature:Kennedy 33 ii/ii; University of Glasgow, no. 39 ii-iv/iv
Whistler (James Abbott McNeill) Seymour standing under a Tree, etching, a good impression of Kennedy's second state (of 3), printing with plate tone, platemark 134 x 96 mm (5 1/4 x 3 3/4 in), under glass, printers' crease within image, minor surface dirt, framed, [1859]; Fumette, etching, on chine collé, a good impression of the final state (of 5), printing with publisher's address, 163 x 110 mm (6 3/8 x 4 1/4 in), under glass, framed, [1858] (2) Provenance:(Seymour) P. & D. Colnaghi & Co, LondonLiterature:(Seymour) Kennedy 31 ii/iii; Glasgow, no. 30 ii/iii(Fumette) Kennedy 13 ii/iii; Glasgow no. 12 v/v
Gillray (James) Dido forsaken,Sic transit gloria Reginæ, satire showing Mrs. Fitzherbert as Dido, seated on a funeral pyre of penises, watching the Prince of Wales sail away with Fox and Burke to Windsor Castle, etching with roulette work, with original hand-colouring, sheet 275 x 375 mm (10 7/8 x 14 3/4 in), under glass, framed, [BM Satires 7165], S.W. Fores, 1787.⁂ Satire of the debates on the prince's mounting debts and his forced denial of his illicit marriage to Mrs Fitzherbert two years earlier.
Beer Brewing Trade.- Gillray (James) The Triumph of Quassia, Quassia was a South American plant that was promoted as a superior and tax-free substance for brewing beer instead of hops, and the present satire shows major brewers in a celebratory procession, etching with hand-colouring, on cream wove paper without watermark, platemark 245 x 345 mm (9 5/8 x 19 1/2 in), sheet 285 x 425 mm (11 1/4 x 16 3/4 in), good margins, one or two small nicks to extremities of the lower edge, minor handling creases and surface dirt, unframed, [BM Satires 10574], Hannah Humphrey, 1806.
Gillray (James, 1756-1815) A great Stream from a Petty-Fountain;-or-John Bull swamped in the flood of new-taxes:-cormorants fishing in the stream, satire on the budget, whose chief feature was an increased income-tax, with numerous political figures depicted with as birds with human heads, huge beaks, and pelican-like pouches, etching with original hand-colouring, a good impression on wove paper, 240 x 350 mm (9 1/2 x 13 3/4 in), trimmed to or just within the platemark, rough edges with small nicks, handling creases, old pencil annotations, minor spotting and browning, unframed, [BM Satires 10564], Hannah Humphrey, 1806
Gillray (James) Overthrow of the Republican-Babel, an elaborate and complicated satirical attack on the factious opposition and the radicals who were convinced that both parties in Parliament were corrupt, featuring numerous elements, including Mrs Clarke falling astride the shoulders of Wardle, and lower down Whitbread is knocked off a ladder after being struck by a barrel of the Quassia beer, etching with early hand-colouring, on wove paper with watermarked initials and date 'E&P/ 1807', platemark 395 x 315 mm (15 1/2 x 12 1/2 in), lower left corner of margin with loss restored up to the platemark, some pencil annotations in the lower margin, several repaired tears including one running into the image at the centre left, other nicks and tears to extremities, with surface dirt, browning and some handling creases, unframed, [BM Satires 11327], Hannah Humphrey, 1809.
Gillray (James) The Death of Admiral-Lord-Nelson - in the Moment of Victory!, etching and aquatint with hand-colouring on wove paper, platemark 390 x 280 mm (15 1/4 x 11 in), sheet 440 x 315 mm (17 1/4 x 12 1/4 in), under glass, even browning and minor surface dirt, framed, [BM Satires 10442], Hannah Humphrey, 1805⁂ The first pictorial representation of Nelson's death.
Russia.- Barthe (Gérard de la), after. Vue de la Place Podnovinsky à Moscou; Vue de la grande Place et des boutiques à Moscou, a pair of historic scenes of Moscow, lettered in Cyrillic and French, etching and engravings by Heinrich Guttenberg with hand-colouring, each sheet approx. 475 x 685 mm (19 3/4 x 27 in), both under glass, some browning and damp-stains visible to extremities and lettered margins, a few rough edges , uniformly framed, [circa 1799-1805] (2)
Charles Williams (British ?-1830): 'Caterer's - Boney Dish'd', hand-coloured etching pub. S Knight, 1813; Attrib. Charles Williams: 'The Battle of Pul-Tusk', hand-coloured etching pub. 1807, inscribed in pencil in the margin; Robert Dighton Jr (British 1786-1865): Captain Robert Christopher Packe and Lieutenant George Augustus Fenwick of the Royal Horse Guards (Packe was killed at Waterloo), hand-coloured etching pub. 1805, max 33cm x 39cm (3) Provenance: all purchased by the vendor from Storey's, Cecil Court, London - Condition Report
James Chalmers Park (British 1858-?): 'Kirkstall Abbey from the East' and 'Temple Newsam, Leeds', two drypoint etchings signed and titled in pencil; Frank Paton (British 1855-1909): 'Not at Home', etching signed in pencil; and a humorous coloured etching of dogs indistinctly signed in pencil, max 21cm x 50cm (4) - Condition Report
* Suyderhoef (Jonas, circa 1613-1686). King Charles I and Queen Henrietta Maria, circa 1650, two etchings with engraving after the portraits by Anthony van Dyck, the decorative borders by Pieter Soutman, on laid paper with watermark, plate size 405 x 282 mm (16 x 11.1 ins), sheet size 430 x 307 mm (17 x 12 ins), except the portrait of Henrietta Maria trimmed to plate mark, together with: Franciscus de Moncada, & Albertus, Archidux Austriae, circa 1650, two etchings with engraving on laid paper, with watermark by Suyderfhoef, after Anthony van Dyck, with borders by Pieter Soutman, both generally in good condition, with narrow blank outer margins, sheet size 410 x 280 mm (16.1 x 11 ins), plus: Louys (Jacob, circa 1595-1673). Philip the Good, Duke of Burgundy, circa 1650, etching with engraving on laid paper with watermark, after Pieter Soutman, with margins, sheet size 440 x 305 mm (17.3 x 12 ins), and: Van Sompel (Pieter, circa 1600-after 1644). Isabella Clara Eugenia, 1644, etching with engraving on laid paper with watermark, after Pieter Soutman (after van Dyck), trimmed to plate margins, sheet size 405 x 268 mm (16 x 10.5 ins)Qty: (6)NOTESO'Donoghue, Catalogue of Engraved British Portraits, 86 & 24; New Hollstein 271 (for Franciscus de Moncada); Hollstein 9 (for Philip the Good).
* Fuseli (Henry, 1741-1825). Chrysogone conceives, in a ray of sunshine, Amoretta and Belphoebe (Edmund Spenser, The Faerie Queene, III, vi), circa 1800-1810, soft-ground etching on heavy cream wove paper, some light surface soiling, plate size 200 x 276 mm (7.9 x 10.9 ins), sheet size 215 x 292 mm (8.5 x 11.5 ins)Qty: (1)NOTESWeinglass (1994) 154.
* Goya (Francisco de, 1746-1828). Si quebro el Cantaro (Yes he broke the pot), from Los Caprichos, 1799, etching, aquatint and drypoint on off-white wove paper, from the third edition, published by the Calcografia Nacional for the Real Academia, Madrid, in 1868, with printed caption below the image, and printed number 25 to upper right corner, plate size 211 x 151 mm (8.1 x 5.9 ins), sheet size 310 x 235 mm (12.1 x 9.25 ins), window-mountedQty: (1)NOTESTomas Harris, Goya: Engravings and Lithographs, 60, iii. According to Harris, the third edition 'is well printed and the impressions are still generally good'.
* Rembrandt (Harmensz Van Rijn, 1606-1669). Self-Portrait with Raised Sabre, 1634, etching on laid paper, a later impression, with reworking, some marks and discolouration to upper outer corners where glued to backing paper, light diagonal crease across the image, trimmed just inside the platemark, sheet size 122 x 100 mm (9.8 x 3.95 ins)Qty: (1)NOTESNew Hollstein 134; Bartsch 18. Hind 109.
* Rembrandt van Rijn (Harmensz., 1606-1669). Samuel Manasseh Ben Israel, 1636, etching on thin laid paper, laid down on a backing sheet, without visible watermark, some light surface marks and minor soiling, the third (final state), with vertical shading on the right brow, trimmed just outside the platemark, plate size 149 x 107 mm (5.8 x 4.2 ins), sheet size 137 x 104 mm (5.3 x 4.09 ins)Qty: (1)NOTESNew Hollstein 156, iii/v; Bartsch 269. Hind 146.
* Sadeler (Johannes, I, 1550-1600). Landscape with a rabbit hunt, after Paul Bril, etching and engraving on laid paper, without watermark, published by Justus Sadeler, a very good, well-contrasted impression, image size 198 x 273 mm, plate size 205 x 274 mm (8.1 x 10.8 ins), sheet size 22.4 x 29.4 cm (8.8 x 11.6 ins), unidentified collector's mark to verso (Lugt 4073), tipped-on to cream backing card, together with: Sadeler (Aegidius, circa 1570-1629). Mountainous landscape with a hermit, after Paul Bril, etching and engraving on laid paper, image size 195 x 270 mm, plate size 197 x 272 mm (7.7 x 10.75 ins), trimmed to plate margins, collector's mark of the Renesse-Breidbach collection (Lugt 1209), and unidentified collector (Lugt 4073) to verso, hinge-mounted to cream backing card, plus: Sadeler (Raphael, 1560/61-1628/32). Mountainous landscape with wooden bridge, after Paul Bril, etching and engraving on laid paper, trimmed to plate margins, sheet size 205 x 270 mm (8.1 x 10.7 ins), framed and glazed, and five other Italianate landscape etchings after Paul Bril by Willem Adriaensz. van Nieulandt (circa 1584-1635), published by Bonenfant or Mariette, one with margins, the remainder all trimmed to plate margins, each with unidentified collector's mark to verso (Lugt 4073), one with collector's mark of H.C. Levis (Lugt 1700), and one with collector's mark of J. Burleigh James (Lugt 1425), some light marks and minor soiling, all hinge-mounted on cream backing cardQty: (8)NOTESLandscape with a rabbit hunt: Hollstein 580, only state, Wurzbach 158. Mountainous landscape with a hermit: Hollstein 206, only state, Wurzbach 100. Mountainous landscape with wooden bridge: Hollstein 218, only state, Wurzbach 125, 2.
* Swanevelt (Herman van, 1603 ca.-1655). Vinia Mamfrona for della porta pinciana, 1653, etching on laid paper, from the series 'Diverses veuës dedans et dehors de Rome desinee par Herman van Swanevelt. Dediee aux Vertueux, 1653', a very good impression of the first state of three, trimmed to platemark, sheet size 113 x 183 mm (4.5 x 7.25 ins), window-mounted, together with: Hopfer (Hieronymus, circa 1500-1563). Design for Two Goblets, circa 1530-40, etching and engraving on off-white paper, after Albrecht Altdorfer, the second state, reissued by the German printer David Funck, circa 1700, trimmed to plate margin, sheet size 87 x 136 mm (3.4 x 5.35 ins), hinge-mounted in 20th-century cream card window mount, with printed label of Christopher Mendez, London, plus other various Old Master prints: Jan van de Velde II (1593-1641), Landscape with a Round Tower, circa 1616, etching on laid paper, Hans Baldung Grien after Albrecht Durer, St. Martin, circa 1505, woodcut on laid paper with watermark of a shield, Durer monogram to upper right, with margins, Wenceslaus Hollar (1607-1677), St. Paul's from the south showing the spire (Ecclesiae Paulinae Prospectus...), 1657, published in Dugdale's History of St. Paul's Cathedral, 1658, trimmed to plate margins, Richard Gaywood (active 1644-1677), Tomb of Sir Francis Vere in Westminster Abbey, 1657, trimmed just outside the plate margin, with some marks to sheet edgesQty: (6)NOTESSwanevelt: Dutuit 54, i/iii. Hopfer: Hollstein 77, ii. Durer: Bartsch 18, Hollstein 124.
* Waterloo (Anthonie, 1610-1690). Dog Drinking, etching on laid paper, a very good impression, trimmed to, or just outside, plate mark, sheet size 291 x 233 mm (11.5 x 9.2 ins), together with: Two Stone Bridges, etching on laid paper, with foolscap watermark, trimmed to plate margins, sheet size 155 x 210 mm (6.1 x 8.25 ins), plus: Two Figures on a Forest Path, etching on laid paper, trimmed to, or just outside, the plate mark, numbered 4 to upper right corner, sheet size 122 x 141 mm (4.8 x 5.6 ins), all hinge-mounted in 20th century card window mountsQty: (3)NOTESDog Drinking: Dutuit 120, ii. Two Stone Bridges: Dutuit 101. Two Figures on a Forest Path: Dutuit 62.
ARR * Brangwyn (Frank, 1867-1956). A Street in Saint Cirq, No. 2, 1912, etching and drypoint on buff wove paper, printed with plate tone, signed in pencil, plate size 302 x 200 mm (11.9 x 8 ins), with margins, framed and glazed (unexamined out of frame), with Fine Art Society exhibition label to verso, giving the title of the work, and number 198, dated December 1945Qty: (1)NOTESGaunt 197.
* Briscoe (Arthur John Trevor, 1873-1943). The Fore T'Gallant Sail, 1927, etching with drypoint on pale cream wove paper, published in an edition of 75 impressions, signed and numbered 51/75 in ink to lower margin, plate size 22.5 x 35.2 cm (8.9 x 13.9 ins), with margins, framed and glazedQty: (1)
* Carter (Frederick, 1883-1967). A collection of 10 original copper etching plates, 1907-1932, 10 original copper plates etched by Frederick Carter, for Gigolette (1907), Bacchante (1913-14), Ma Lionne (1915), Bathers I (1915), The Tin Bath (1916), Thyrsus Bearer (1925), Decoration (1928), The Dryads (1931-32), Standing Nude (1932), The Two Trees (1932), some light handling marks, various sizes from 233 x 186 mm (9.25 x 7.3 ins) to 98x 65 mm (3.85 x 2.5 ins)Qty: (10)NOTESRichard Grenville Clark, Frederick Carter, A Catalogue and Study of His Etchings (1998), page 25 (Gigolette), page 59 (Ma Lionne, page 59 (Bathers I, and The Tin Bath), page 67 (Thyrsus Bearer), page 75 (Decoration), page 76 (Standing Nude), page 77 (The Dryads), page 76 (Standing Nude) and page 78 (The Two Trees).
* Dicksee (Frank, 1853-1928 and Lalauze, Adolphe, 1838-1905/06) A Love Story, 1884, etching on wove paper by Adolphe Lalauze after Frank Dicksee, published by Thomas Agnew & Sons, July 1st 1884, a proof signed by both the engraver and artist, with Printseller's Association blindstamp to lower left corner, image size 32.5 x 47 cm (12.75 x 18.5 ins), sheet size 45 x 63.5 cm (17.7 x 25 ins), laid down on card, old frame, glazed, with early handwritten label to verso 'A Love Story Royal Academy 1883 Painted by Frank Dicksee', framed and glazedQty: (1)
* Dicksee (Herbert, 1862-1942). Lion Drinking, circa 1890, etching printed in sepia on cream laid paper, small adhesive tape residue to extreme outer corners of the sheet, plate size 177 x 251 mm (7 x 10 ins), sheet size 263 x 360 mm (10.4 x 14.25 ins), together with: Bryden (Robert, 1865-1939). The Holy Fair, 1895, etching printed in sepia on cream wove paper, signed in pencil to lower right, plus four other sepia etchings by Robert Bryden, all depicting scenes from poems by Robert Burns, unsigned, plate size 215 x 275 mm (8.5 x 11 ins) or similar, with marginsQty: (6)
* Rushbury (Henry, 1889-1968). St. Paul's from Paternoster Row, 1941, etching with drypoint on pale cream laid paper, signed in pencil, plate size 200 x 300 mm (7.9 x 11.8 ins), with margins, together with: St. Martins-in-the-Fields, 1944, etching and drypoint on pale cream paper, signed in pencil, plate size 290 x 264 mm (11.4 x 10.4 ins), plus four others similar: Francis Dodd, Porta della Carta, Palazzo Ducale, Venice, etching with aquatint, from the published edition of 90 impressions, signed by the artist in pencil, Frank Short, Strolling Players, Lydd, an artist's proof, signed in pencil, D.I. Smart, Vinaroz Beach, and Barges & Warehouses, both signed, all framed and glazed (the last work without glass)Qty: (6)
* Pearsall (Richard, 1891-). Playa del Corral de Don Diego, Toledo, etching with drypoint, from the published edition of 75 impressions, signed, titled and numbered 3/75, plate size 185 x 353 mm (7.25 x 13.9 ins), with margins, framed and glazed, together with other etched European views: Sidney Tushingham, Venetian Canal with Gondolas, Louis C. Rosenberg, Venetian Square, Frank A. Mason, Dutch Landscape with Windmills, H.P. Huggill, Ponte Vecchio, Florence, and William Fairclough, Figures on the Piazza San Marco, 1983, all signed in pencil by the artist, framed and glazedQty: (6)
* Strang (William, 1859-1921). Thomas Hardy, O.M., 1920, etching on cream wove paper, printed with plate tone, a unique proof of the first state, signed and marked in pencil First State 1 proof, additionally signed 'David Strang Imp.', plate size 35 x 23.6 cm (13.8 x 9.3 ins), sheet size 41.6 x 27.1 cm (16.4 x 10.7 ins), framed and glazedQty: (1)
ARR * Tunnicliffe (Charles Frederick, 1901-1979). The Sitting Hare, 1926, etching on laid paper, printed with plate tone, from the published edition of 75 impressions, signed and numbered 19/75 in pencil, mount stained, plate size 137 x 187 mm (5.4 x 7.3 ins), sheet size 165 x 210 mm (6.5 x 8.25 ins), the sheet untrimmed, framed and glazedQty: (1)NOTESMeyrick & Heuser, Charles Tunnicliffe: Prints : A Catalogue Raisonne? (2017), 29.
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