Margaret Ashman I Am Strong (3), 2020 Phototransfer and Monoprint on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Margaret Ashman is a printmaker whose work is a meditation on the unseen, spiritual, emotional and otherness of life. Using photographs or video stills, sometimes layering images from multiple sources she creates pieces in which a solitary dancer fills or interacts with a space. Dancers or Deaf signers are photographed performing contemporary dance or signing to particular songs or texts. She also works from video stills of dancers, always gaining the permission of the dance artist first. The manipulated imagery is transferred to multiple etching plates using traditional acids and aquatint, imparting a particular textural quality to the finished prints. She lives and works in London. Education Certificate in Further Education City & Guilds 7407, Kensington & Chelsea 2006 MA Printmaking & Professional Practice, University of Brighton and London Print Studio 2005 BA Fine Art, University of Hertfordshire 1998 - 2003 MA Physics, Somerville College, Oxford 1977 - 1980 Exhibitions & Awards 2019 Lawrence Art Supplies Prize, RE Originals, Bankside Gallery 2017 Hot Bed Press Purchase Prize, The Masters, Bankside Gallery 2017 London Print Studio Summer Exhibition, 1st Prize Winner 2015 Shifting Subjects Arts Council Commission, Abbey Walk Gallery, Grimsby 2012 Intaglio Printmaker Award, Royal Society of Painter Printmakers Exhibition 2011 International Print Prize, 3rd Guanlan Print Biennial, China Recent Exhibitions 2020 ING Discerning Eye, London New Work by the RE, Printmakers in Lockdown, Bankside Gallery Woolwich Print Fair In Print 20/20 Vision, Watts Contemporary Gallery, Surrey Summer Exhibition, Royal Academy of Arts, London Colour, Printmakers Council, Royal Overseas League, London Reawakenings, Lingwood Samuel, Godalming Stones from other Mountains: 2020 International Outstanding Printmaking Artists Works Exhibition, China Printmaking Museum Margaret Ashman and Pascale Simonet, Nagai Artist Space, Hiroo Shibuya,Tokyo 4th Red Dot Art Mini Print Exhibition, Anteros Arts Foundation, Norwich Printmakers Council, Scarborough Art Gallery, Scarborough Time, Printmakers Council, Highgate Literary and Scientific Institute, London 2019 The Mini Picture Show, Bankside Gallery Solo Show, Higher Ground, The Muse Gallery, London Pratt Institute, Brooklyn, New York PrintFest, Algarden, Boras, Sweden Summer Exhibition, Royal Academy of Arts, London Flow, Gallery 57, Arundel A Silent Space Between, Gallery 57, Arundel RE Original Prints, Bankside Gallery London Original Print Fair, Royal Academy Journeys, Printmakers Council, Touring Exhibition 2018 Woolwich Contemporary Print Fair, Woolwich Arsenal, 22nd - 25th November ING Discerning Eye Exhibition, Mall Galleries, 15th - 29th November 3rd Red Dot Art Mini Print Exhibition, Aldeburgh, 21st - 25th September and touring to UK venues National Original Print Exhibition, Bankside Gallery, 19th - 30 September International Triennial of Contemporary Graphic Arts,Novosibirsk 14th September - 4th November Memory, Royal Overseas League, London 28th August - 25th November Off the Wall, Bankside Gallery London Print Studio Members Summer Show Spirit of Place, Late November Gallery, Haverfordwest Royal Society of Painter Printmakers, Burton Gallery, Bideford RE Printmakers at For Arts Sake, For Arts Sake, Ealing RE Originals, Bankside Gallery Print REbels, Bankside Gallery Light/Matter: Art at the Intersection of Photography and Printmaking, 1954 - 2017, University of Alberta, Edmonton, Canada Affordable Art Fair, Hampstead Impress III, The Gallery, Fisherton Mill, Salisbury Embodying Gesture, The Muse Gallery, London The Muse Gallery, Notting Hill, Bankside Gallery, Printroom Studio, Lingwood Samuel, Newbloodart, Singulart. About the postcard artworks These works are original prints created by hand on Somerset etching paper using etching inks with a photocopy litho technique. The images are from video stills of the dancer Kehua Li also known as Lico. She embodies strength, positivity and resilience in her energetic and beautiful dances. I wanted to capture something of that spirit in these mini portraits.
We found 78388 price guide item(s) matching your search
There are 78388 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribe- List
- Grid
-
78388 item(s)/page
δ Ben Nicholson (1894-1982)Fragment of a Tuscan Cathedral (Lafranca 18)Etching, 1966, the edition was 380, published by Galerie Ernst Beyeler, Basel, with the Lafranca blindstamp, on BFK Rives paper, loose within the original paper justification sleeve, signed by Alexander Zschokke, and numbered from the edition in blue ink, with full margins, 360 x 295mm (14 1/8 x 11 1/2in) (unframed)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Rembrandt van Rijn (1606-1669)Man in a Coat and Fur Cap Leaning Against a BankEtching, circa 1630, a well inked but later impression of New Hollstein's third state (of 3), printing with plate tone on laid paper without watermark, sheet 117 x 81 mm (4 5/8 x 3 1/8 in), small margins, small loss to upper left corner and upper left edge, other minor nicks and creases to extremities (unframed)Provenance:Possibly ex-collection of Max Ziegert [without collector's stamp, but bears pencil inscription to old mount] [cf. L.2676]Literature:New Hollstein 48 iii/iii
Rembrandt van Rijn (1606-1669)Beggar Man and Woman behind a BankEtching, circa 1630, a very good impression of New Hollstein's sixth or seventh state (of 9), after the reduction of the plate but before further rework to the Woman's face, on laid paper with possible faint partial watermark of an elaborate crown, sheet approx. 100 x 69 mm (3 7/8 x 2 5/8 in), trimmed to or just within the platemark, expertly remargined on all sides, split to sheet repaired at centre left, restoration visible to lower right corner, other minor nicks and small repairs (unframed)Provenance:Heneage Finch, 5th Earl of Aylesford (1786-1859) [L. 58];Earl Cathcart (d. 1862) [L. 483];Frederick Ferdinand Hansen (1823-1916);Possibly Hansen's auction: offered by C.G. Boerner, Leipzig, 2nd to 4th May, 1901;Property of a lady, Gloucestershire, UKLiterature:New Hollstein 51 vi-vii/ix
Rembrandt van Rijn (1606-1669)The Circumcision: Small PlateEtching with touches of drypoint, circa 1630, a very good impression of the only state, printing darkly with touches of burr to the Child, on laid paper with partial watermark of the top of an ornate armorial device, platemark 88 x 64 mm (3 1/2 x 2 1/2 in), sheet 93 x 68 mm (3 5/8 x 2 5/8 in), small area of loss to the upper left corner, other minor marginal nicks, some surface dirt (unframed)Provenance:Property of a lady, Gloucestershire, UKLiterature:New Hollstein 55
Rembrandt van Rijn (1606-1669)Beggar with a wooden legEtching, circa 1630, a very good bold impression of New Hollstein's third state (of four) on laid paper without watermark, printing with plate tone and wiping marks, the dots and cross present but before further re-work, platemark 113 x 67 mm (4 1/2 x 2 5/8 in), sheet 117 x 71 mm (4 5/8 x 2 3/4 in), tipped at corners onto paper support with some toning from adhesive showing through to recto (unframed)Provenance:Property of a lady, Gloucestershire, UK Literature:New Hollstein 49 iii/iv
Rembrandt van Rijn (1606-1669)Diana at the BathEtching, circa 1631, a good impression of the only state with faint wear visible in the plate, on laid paper without watermark, sheet 174 x 158 mm (6 7/8 x 6 1/4 in), trimmed to or just within the image, with two areas of loss within the image restored, a repaired tear to the right sheet edge, and further expert restoration, hinged into mount (unframed)Literature:New Hollstein 89 i/i
δ Harland Miller (b.1964)In Shadows I Boogie (Pink)The deluxe book, 2019, comprising one etching with letterpress, 2019, signed in pencil, numbered from the edition of 100, the book with title-page, text and justification, this copy signed and numbered in black ink, bound as published in the original boards and with the matching blue presentation box, overall size 345 x 253 x 45mm (13 1/2 x 9 7/8 x 1 6/8 in) (folio) (2)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Rembrandt van Rijn (1606-1669)The Raising of Lazarus: The Larger Plate Etching and engraving, circa 1632, a delicate and detailed lifetime impression of New Hollstein's fifth state (of nine), on laid paper with Strasbourg lily watermark and the initials 'WR' [Hinterding's A' a.], with pronounced inking to the two heads reworked by Rembrandt at the centre right, with some minor wear in the densely hatched areas, but before any later rework, some faint touches of pen and ink to Christ's robe and the shaded area above, sheet 370 x 260 mm (14 1/2 x 10 1/4 in), thread margins, tipped onto album leaf support, small rust hole in the lower left quadrant, another one or two very small rust spots, minor surface dirt (unframed)Provenance:Mr. I. Legh Philips [?19th century English collector, pencil inscription verso, not in Lugt]Property of a lady, Gloucestershire, UKLiterature:New Hollstein 113 v/ix
Rembrandt van Rijn (1606-1669)Old Man with Beard, Fur Cap and Velvet CoatEtching with drypoint, circa 1632, a good impression of New Hollstein's second state (of three) on fine laid paper with small indistinct watermark, some signs of wear in the densely hatched areas, sheet 152 x 135 mm (6 x 5 1/4 in), the sheet appears to be mounted on paper support, with margins restored in places visible verso, expert repairs to small loss, nicks and tears to extremities, some spots (unframed)Provenance:Property of a lady, Gloucestershire, UKLiterature:New Hollstein 92 ii/iii
Rembrandt van Rijn 1606-1669Self Portrait in a Cap and Scarf with the Face Dark: BustEtching, 1633, a well inked but later impression of New Hollstein's fifth state (of five), printing with plate tone on laid paper without watermark, platemark 134 x 104 mm (5 1/4 x 4 1/8 in), sheet 146 x 115 mm (5 3/4 x 4 1/2 in), hinged into mount, printers' creases and minor surface dirt (unframed)Provenance: Unidentified collector's stamp "KB" on verso (L. 4786)Literature:New Hollstein 120 v/v
Rembrandt van Rijn (1606-1669)The Flight into Egypt: Small PlateEtching, 1633, a very good early impression of New Hollstein's first state (of four), the sulphur tint bold and printing clearly, sheet 90 x 65 mm (3 1/2 x 2 1/2 in), small repair to loss in the lower right corner, repair to split in the upper left corner, other minor cockling and surface dirt, tipped onto paper support at the upper corners (unframed)Provenance:Property of a lady, Gloucestershire, UKLiterature:New Hollstein 117 i/iv
Rembrandt van Rijn (1606-1669)The Descent from the Cross: Second PlateEtching and engraving, 1633, but a later impression of New Hollstein's eighth state (of eight) on chine collé, a dark impression with Lamoureux's address in the lower right corner, still showing remnants of the coarsely burnished address of Justus Danckerts, platemark 530 x 410 mm (20 3/4 x 16in), sheet 800 x 560 mm (22 x 16 3/4 in), wide margins (unframed)Literature:New Hollstein 119 viii/viii
Rembrandt van Rijn (1606-1669)Christ driving the money changers from the templeEtching with drypoint, 1635, an excellent albeit later impression of New Hollstein's third state (of four), on laid paper without watermark, platemark 135 x 166 mm (5 1/4 x 6 1/2 in), sheet 150 x 178 mm (5 7/8 x 7 in), good margins, (unframed)Literature:New Hollstein 139 iii/iv
Rembrandt van Rijn (1606-1669)St. Jerome Kneeling in Prayer, Looking DownEtching, circa 1635, printing with some plate tone, but a later impression of New Hollstein's second state (of 2), following light re-working by Basan, on cream laid paper without watermark, platemark 113 x 80 mm (4 1/2 x 3 1/8 in), sheet 125 x 94 mm (4 7/8 x 3 3/4 in), showing some wear within the cross-hatching (unframed)Literature:New Hollstein 142 ii/ii
Rembrandt van Rijn (1606-1669)The QuacksalverEtching, 1635, a good impression of the only state, on laid paper without watermark, sheet 79 x 37 mm (3 1/8 x 1 1/2 in), trimmed within the platemark, light even toning with minor browning to the lower left corner, (unframed)Mounted together with a counterproof impression of The Quacksalver, on the same laid paper stock as above, sheet 73 x 41 mm (2 7/8 x 1 5/8 in) (unframed)Literature:New Hollstein 145 i/i
Rembrandt van Rijn (1606-1669)Bald old man with a short beardEtching, circa 1635, a good impression of New Hollstein's second state (of two) on laid paper without watermark, sheet 57 x 45 mm (2 1/4 x 1 3/4 in), trimmed within the platemark, some surface dirt (unframed)Together with: A Peasant in a high Cap, standing leaning on a StickEtching, 1639, on laid paper without watermark, but a later, slightly slipped impression of New Hollstein's final state (of 2), sheet 83 x 43 mm (3 1/4 x 1 3/4 in), trimmed within the platemark, browning and surface dirt, nicks and tears (unframed) Provenance:Property of a lady, Gloucestershire, UK Literature:New Hollstein 147; 178
Rembrandt van Rijn (1606-1669)Self Portrait with SaskiaEtching, 1636, a good but later impression of New Hollstein's third state (of four), on laid paper with partial watermark, sheet 106 x 94 mm (4 3/16 x 3 3/4 in), trimmed to or just within the platemark, some touches of black ink within the image, small area of loss restored in the upper centre, (unframed)Literature:New Hollstein 158 iii/iv
Rembrandt van Rijn (1606-1669)The Triumph of MordecaiEtching with drypoint, circa 1641, a good but later impression of New Hollstein's third state (of four) on laid paper with 'Auvergne 1742' watermark (Hinterding Miscellaneous-F-c), platemark 173 x 214 mm (6 3/4 x 8 3/8 in), 180 x 220 mm (7 1/8 x 8 3/4 in), faint diagonal crease visible in the upper left quadrant, some toning and spotting to sheet (unframed)Provenance:Rudolf von Seydlitz (d. 1870) [L. 2283];Possibly his sale with C.G. Boerner, Leipzig, 20-24th May 1912;Property of a lady, Gloucestershire, UKLiterature:New Hollstein 185 iii/iv
Rembrandt van Rijn (1606-1669)Peter and John Healing the Cripple at the Gate of the TempleEtching and drypoint, 1652, but a later impression of New Hollstein's fifth state (of six), printing with light plate tone on wove paper without watermark, platemark 181 x 217 mm (7 1/4 x 8 1/2 in), sheet 194 x 228 mm (7 5/8 x 8 7/8 in), two small perforations restored within the image, fine conservation tissue affixed verso (unframed)Literature:New Hollstein 312 v/vi
Rembrandt van Rijn (1606-1669)The Descent from the Cross by TorchlightEtching and drypoint, 1654, a good but later impression of New Hollstein's third state (of four), before further reworking, on laid paper without watermark, sheet 209 x 161 mm (8 1/4 x 6 1/2 in), trimmed on or just within the platemark, careful repairs to each of the lower corners, minor nicks to edges, some minor losses restored in pen facsimile, (unframed)Literature:New Hollstein 286 iii/iv
Rembrandt van Rijn (1606-1669)Jacob Haaringh ('Young Haaringh')Etching with drypoint, 1655, but a later impression from the cut plate, New Hollstein's fifth state (of 5), on wove paper without watermark, platemark 118 x 105 mm (4 5/8 x 4 1/8 in), sheet 134 x 120 mm (5 1/4 x 4 3/4 in), some small marginal losses to the left, fine split restored to the upper left platemark edge, (unframed) Literature:New Hollstein 292 v/v
Jan Lievens (1607-1674)Three Portraitsi) Bust of a young girl with her hair downEtching, circa 1630-1640, the second state published by Frans van den Wyngaerde, on laid paper with watermark of the letter 'M' surmounted by a crown, sheet 163 x 148 mm (6 3/8 x 5 3/4 in), thread margins (unframed)ii) Bust of an Oriental with feathered turbanEtching, circa 1630-1674, the second state published by Frans van den Wyngaerde, on thin japon wove paper without watermark, sheet 270 x 220 mm (10 5/8 x 8 5/8 in), trimmed within the platemark, tipped onto paper support at both upper corners, some spotting and surface dirt (unframed)iii) An Oriental head: plate 3 from Variae Effigies a Johanne Livio Lugd. BatavEtching, circa 1630-1632, the third state published by Frans van den Wyngaerde, on laid paper with indistinct watermark, sheet 145 x 130 mm (5 3/4 x 5 1/4 in), trimmed within the platemark and inset into window-mount, spotting and browning (unframed)Literature:Hollstein 43; 30; 39
Jacques Bellange (1575-1616)The Holy Family with Mary Magdalene and Saint AnneEtching with stipple, circa 1612-1616, a good impression of the first state (of 2), printing with plate-tone on laid paper without visible watermark, sheet 335 x 242 mm (13 1/4 x 9 1/2 in), laid onto paper support, several areas of loss restored with facsimile, small repairs to nicks and tears to extremities, minor handling creases, spotting and surface dirt (unframed)Provenance:Property of a lady, Gloucestershire, UKLiterature:Walch p. 214;cf. Hartley, Jacques Bellange, Printmaker of Lorraine, BM 1997, cat. no. 4
δ Marc Chagall (1887-1985)Le Pot de Terre et le Pot de Fer (See Cramer Books 22)Etching with extensive hand-colouring in gouache, 1952, the edition was 40, as included in the deluxe edition of Les Fables de la Fontaine, published by Tériade, Paris, on BFK Rives paper, with full margins, 382x297mm (15 x 11 3/4in) (unframed)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
δ Marc Chagall Le Veau d'Or (see Cramer 30)Etching with extensive hand-colouring in watercolour, 1958, initialled in pencil, numbered from the edition of 100, as included in The Bible, published by Tériade, Paris on Arches paper, with full margins, 320 x 252mm (12 5/8 x 10in) (unframed)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
δ Le Corbusier (1887-1965)Unité. Hands and Architect ToolsThe rare etching, 1965, numbered from the edition of 10, one of the ten monochrome proofs included in the deluxe edition of Unité, printed by Atelier Crommelynck, published by AC Mazo, Paris, on BFK Rives paper, with full margins, 570 x 450mm (22 ½ x 17 ¾ in) δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
δ Salvador Dali (1904-1989)Venus (Field 74-17b)Etching, 1974, signed in pencil, numbered from the edition of 75, published by Ediciones Polygrafa, Barcelona, on Richard de Bas hand-made paper, with full margins, 760 x 560mm (29 7/8 x 22in) (unframed)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
δ Salvador Dali (1904-1989)Vision de Paris (73-1-K)Etching with aquatint printed in colours, 1973, signed in pencil, numbered from the edition of 250, on Richard de Bas handmade wove paper, with full margins, sheet 585 x 795mm (23 x 31 1/4in) (unframed)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
δ Salvador Dali (1904-1989)San Francisco. Golden Gate Bridge (Field 70-4-E)Etching in bistre, 1970, signed and inscribed E.A. in pencil, an artist's proof aside from the edition of 150, published by Jean Schneider, Basel, on BFK Rives paper, with full margins, sheet 650 x 495mm (27 3/8 x 19 ½ in) (unframed)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
δ Salvador Dali (1904-1989)La Dentellière (Field 58-1)Etching, 1958, the second state (of two), signed in pencil, countersigned, dated 1978 and inscribed For Doctor Schibel in brown ink, numbered from the edition of 50, on Guarro wove paper, with printed text at left of sheet, with full margins, sheet 350 x 499mm (13 ¾ x 19 5/8in) (unframed)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
δ Salvador Dali (1904-1989)Don Quichotte and Sancho Panza (Field 68-1)Etching with aquatint printed in colours, 1968-80, the second state (of two), signed in pencil, numbered from the edition of 200, on Auvergne wove paper, with full margins, 495 x 390mm (19 ½ x 15 3/8 in) (unframed)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
δ Paul Delvaux (1897-1994)Sept Dialogues avec Paul Delvaux (Jacob 76-80)The complete album, 1971, comprising one etching with aquatint printed in colours and four etchings, each signed in pencil, numbered from the edition of 150, all on BFK Rives paper, with full margins, and with the book bound as issued with printed paper wrappers, all loose within the washed silk covered portfolio, overall size 390 x 290mm (15 3/8 x 11 1/2in)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
BOXING INTEREST: A FRAMED SET OF PORTRAITS OF PUGILISTS a full-length portrait of 'Gentleman' John Jackson flanked by head and shoulders portraits of Ned Turner, Ned Painter, George Cooper and Bob Gregson, monochrome engravings, 33cm x 41cm; a coloured etching 'A Visit to the Fives Court', 18.5cm x 23cm; a coloured etching 'Art of Self Defence' 12.5cm x 17.5cm; a cover of Sportsman's Magazine featuring Phelps and Martin, No.32, Vol III, October 3rd 1846, coloured, 26cm x 19.5cm; a humourous work after Henry Mayo Bateman 'Hair and Art', 24cm x 17.5cm; and a reproduction of 'The Great Fight between Broome and Hannan' 24.5cm x 34cm (6)
Derby interest; an 1810 etching entitled Francis Noel Clarke Mundy Esquire, and his grandson William Mundy of Markeaton, near Derby, published on May 12, 1810 by Mr R Reinagle, No1 Upper Conway Street, painted by Mr R Reinagle, engraved by Charles Turner, fitted in a black frame, 58cms high x 62cms wide approx
JULIAN HARTNOLL. Two Christmas cards signed by Hartnoll and dated 1987 and 1984, one lithograph the other gold paint, together with a wood engraving by GEORGE MACKLEY. 'Coltsfoot', and etching of a squirrel on a branch, a little book of cats by alice and a coloured etching signed in pencil 'Journeys of Icarus I' 95 / 95 title page, smallest 7 x 10 cm, largest 48 x 48 cm
REMBRANDT HARMENSZOON VAN RIJN (NACH) 1606 Leiden - 1669 Amsterdam DIE AUFERWECKUNG DES LAZARUS Radierung auf chamoisfarbenem Papier. BM 35,5 x 25 cm (R. 57,5 x 45,5 cm). Seitenverkehrte Wiederholung des Blattes. In ein Passepartout eingelegt und hinter Glas gerahmt (ungeöffnet). REMBRANDT HARMENSZOON VAN RIJN (AFTER) 1606 Leiden - 1669 Amsterdam THE REVIVAL OF LAZARUS Etching on paper. Sheet size 35,5 x 25 cm (f. 57,5 x 45,5 cm). Reversed repetition of the theme. Framed in a passepartout and behind glass (not opened).
GIOVANNI BATTISTA PIRANESI 1720 Venedig - 1778 Rom VEDUTA DEL MAUSOLEO D'ELIO ADRIANO (ORA CHIAMATO CASTELLO S. ANGELO) Radierung auf Bütten, mit Mittelfalz. DM 43 x 55 cm (R. 68 x 79 cm). Unten rechts in der Platte bez. 'Piranesi Archit. dis. et inc.'; unten Mitte mit ausführlicher Bildlegende. Gebräunt, leicht fleckig. Im Passepartout und hinter Glas gerahmt (ungeöffnet). GIOVANNI BATTISTA PIRANESI 1720 Venice - 1778 Rome VEDUTA DEL MAUSOLEO D'ELIO ADRIANO (ORA CHIAMATO CASTELLO S. ANGELO) Etching on hand-made paper, with centre-fold. Print size 43 x 55 cm (f. 68 x 79 cm). Inscribed in the plate in the lower right 'Piranesi Archit. dis. et inc.'; in the lower centre legend with description. Brownish, min. spotty. Framed in a passepartout and behind glass (not opened).
EDGAR DEGAS 1834 Paris - 1917 ebenda DANSEUSE METTANT SON CHAUSSON (ca. 1892) Radierung auf chamoisfarbenem Papier. BM 32,5 x 24,5 cm, DM 17,5 x 11,5 cm (R. 38 x 29,5. Leicht gebräunt, min. fleckig, Randbesch. Posthumer Druck. 2. Zustand (von 2) nach der rayierten Platte. Aus einer Auflage von ca. 150 Exemplaren. Herausgegeben von Ambroise Vollard, Paris, 1918. Hinter Glas gerahmt (ungeöffnet). Literatur: Delteil 36; Adhémar 60. EDGAR DEGAS 1834 Paris - 1917 ibidem DANSEUSE METTANT SON CHAUSSON (ca. 1892) Etching on paper. Sheet size 32,5 x 24,5 cm, print size 17,5 x 11,5 cm (f. 38 x 29,5 cm). Min. brownish, min. spotty, damaged at the margins. Posthumous print. 2nd state (of 2) after the cancelled plate. From an edition of ca. 150 copies. Published by Ambroise Vollard, Paris, 1918. Framed behind glass (not opened). Literature: Delteil 36; Adhémar 60.
CONCORD AND CAVENDISH MORTON (20TH CENTURY) 'Rhapsody in Blue' and 'Spring Rhapsody', two wood engravings in colour, each pencil signed in the margin and the former dated 1934, 37 x 47cm and 34.5 x 50cm respectively; and J*W* King, Kings College, Cambridge, etching, pencil signed in the margin, 20 x 33.5cm (3)
Loading...-
78388 item(s)/page