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Click here to subscribePictures and Prints - Dentistry - Andries Pauwels the Elder (1600-39), after Theodoor Rombouts (1597-1637), A Dentist Pulling Teeth, copperplate etching with some handcolouring, 30cm x 38cm, framed, (1), Fire-Engines, including American Stam Fire-Engine, 19th century hand-coloured steel engraving, (1); Advertising, Beecham's Pills, framed, (1), [3]
George Hayter (British 1792-1871)The sisters: Mrs Stourbridge and Mrs Wilmot-BormleyWatercolour20.5 x 17cm (8 x 6½ in.)Together with a coloured etching of the same watercolour, a pastel portrait of General Sir William Cator KCB (1785-1866,) father of Margaretta Eliza, wife of William Courtney Morland, a second pastel portrait of Lady Caroline Morland, wife of Colonel Charles Morland, and two pastel portraits of Henry Courtenay Morland as a child, various dates and sizes (6)Provenance:Property of the Morland Family, Court Lodge, Kent
PAINTINGS AND DRY POINT ETCHING, to include 'Clay-Next-The-Sea, Norfolk' by James Priddey, signed and titled to lower margin, watercolours of Houses of Parliament, landscapes and riverscape, indistinct signature with paintings by Grace Scurlock, various subjects, nude female study initialled R.J and a map of the World, published by James Galt, 1966 (all framed)
HARRY BECKER (BRITISH 1865-1928) 'THE TREE FELLERS' forestry workers beside a tree, signed to lower margin, sepia drypoint etching on paper, label verso stating this print was presented by Becker, mounted, framed and glazed, approximate size including margins 21cm x 26cm (condition:- light foxing to print and margins)
PAINTINGS AND PRINTS comprising Charles Henry Weigall (1794-1877) Wildfowl in a landscape setting, signed, mounted and framed, approximate size 15cm x 27cm, modernist portrait by Polish artist Wladyslaw Celnikier, signed and dated 1966, framed, Michael Johnson limited edition print 131/200, framed, Susie Lacome woodblock print 33/50, James Priddy etching (water stained), Noel Shelley photographic print 1/1, Marion Thornton watercolour, J Roybal, oil on canvas, F Devey, oil on board, all framed, largest size including frame approximately 70cm x 43cm
PAINTINGS AND PRINTS, comprising Ferdinand E.H. Caulkin 'The Road Across The Common' signed watercolour, framed, approximately 24cm x 35cm, George Cooper watercolour of a woodland scene in Birmingham, framed, approximately 35cm x 46cm, Albany E. Howarth, signed etching of Durham Cathedral, Frank Brangwyn lithograph 'The Zeppelin Raids' (unsigned), Vic Bowcott watercolour of a landscape and two modern engraved prints, together with facsimile Areospace photos, etc (7)
This is an etching and drypoint by Rembrandt entitled "Landscape with Trees, Farm Buildings and a Tower". The etching was done about 1650, and it's unsigned and undated. It is the fourth state of five, and it comes with a certificate of authenticity from Stakenborg-Greenberg Fine Art, an art gallery on Main Street in Sarasota, Florida. The etching is listed in Nowell-Usticke's Catalogue as Nr. 223, and described as RRR, extra rare. The piece is a very fine impression of the fourth (final) state, and one of the rarest of Rembrandt's larger landscape etchings, despite the fact that Rembrandt took this plate through four different states. Very few impressions of this print have come up for auction in recent years. The plate actually began as a precise record of an existing building, namely the building with the tower at the right. In the extremely rare first and second states, the tower is taller and topped with a cupola and a short spire, and those characteristics helped scholars identify the building as that of tax collector Jan Uytenbogaert. Presumably for artistic purposes, Rembrandt changed the appearance of the tower in the third state by burnishing out the upper parts of the tower and obliterating what it really looked like. In his landscapes, Rembrandt usually refrained from depicting the sky with etched lines. He preferred plate tone and polishing scratches or sulphur tinting, but here he covered the left side and part of the lower sky with etched lines to indicate dark clouds. The trees on the left are still overcast and dark, while the rest of the buildings are bathed in sunshine. This strong contrast creates the effect of the sun suddenly breaking through receding rain clouds, and the almost blank foreground evokes a sparse and lovely landscape. Image Size: 4.75 x 12 in. Overall Framed Size: 14.25 x 23.25 in. Framed behind glass.
(See below for english version)„Elias“. 2014Farbradierung auf Velin. 43,5 × 32,5 cm (65,3 × 50,2 cm) ( 17 ⅛ × 12 ¾ in. (25 ¾ × 19 ¾ in.)). Betitelt, signiert und datiert.Einer von 100 nummerierten Abzügen. Berlin, Edition Texte zur Kunst, 2014. [3069]Zustandsbericht: Ex. 45/100. In gutem Zustand. Die Blattkanten ohne Einrisse oder Fehlstellen. Rückseitig in den oberen Ecken mit Japanfaser auf den Unterlagekarton montiert. Schöner harmonischer GesamteindruckWir berechnen auf den Hammerpreis 30% Aufgeld.„Elias“. 2014Colour etching on wove paper. 43,5 × 32,5 cm (65,3 × 50,2 cm) ( 17 ⅛ × 12 ¾ in. (25 ¾ × 19 ¾ in.)). Titled, signed and dated.One of 100 numbered prints. Berlin, Edition Texte zur Kunst, 2014. [3069]Condition report: No. 45/100. In good condition. The sheet edges are without tears or losses. Mounted on the reverse at the upper corners with Japan fibre on cardboard. Fine harmonious overall appearanceWe charge 30% premium on the hammerprice.
Salvador Dali (Spanish, 1904-1989): 'King of Aragon', etching with mezzotint printed in colours, 1971, signed and numbered 163/250 in pencil to lower margin, on Auvergne Richard de Bas wove vellum paper, printed by Ateliers Rigal, published by Christie's Contemporary Art, London, 1979, with Certificate of Authenticity, Michler & Lopsinger 528, plate mark 35.5 by 26.5cm, sheet 48 by 38cm, mounted, glazed and framed, 73.5 by 62cm.***May be subject to ARR***
Macaroni fashion.- Carrington Bowles (publisher) Welladay! is this my son Tom!, mezzotint after Samuel Hieronymous Grimm showing a distressed father meet his son dressed as a macaroni with high wig, cane and sword, platemark 355 x 250 mm (14 x 9 3/4 in), sheet 400 x 290 mm (15 3/4 x 11 1/2 in), repaired loss in upper right corner, numerous careful repaired nicks, mainly marginal, the date in the lower right scraped, some spotting and surface dirt, unframed, [BM Satires 4536], [circa 1773]; together with an uncoloured etching by Darly, 'Macaroni Courtship, or the two Insignificants', and another after Boilly, Grand Papa's Wig, various sizes, all unframed, 1772 and later (3)
Sam Garrett (Welsh 19th/20th Century), 'New Inn,Gloucester', uncoloured etching, signed in pencil by the artist. 16.5 x 21.5cm approx. Together with Charles Barclay (British 20th Century), 'Ripon Cathedral', uncoloured etching, signed in pencil. 12.5 x 17.5cm approx. Framed and glazed. (2)(B.P. 24% incl. VAT)(B.P. 24% incl. VAT)
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