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Lot 64
Louise Nevelson (1899 - 1988). Soft-ground etching on paper titled Essences Five. Print is signed and dated '77 along the lower right, inscribed P.P. along the lower left, and titled along the lower center. Provenance: Private collection, Minnesota. Dimensions: Sight; height: 37 1/2 in x width: 25 3/4 in. Framed; height: 45 3/4 in x width: 33 1/2 in. Condition: Good condition; for a detailed condition report, please contact us.
Lot 877
Joseph Simpson (1879-1939) Hoggle Jock (A Wild Fowler), etching, pencil signed to the margin, framed and mounted under glass, circa 1927, 23 x 30 cm, together with one other corresponding work; Solway Wild Fowler, depicting "Hoggle Jock" camouflaged within his boat, "1st State", pencil signed and annotated to the margin, circa 1927, 23 x 30 cm , both framed and mounted under glass
Lot 791
Rosamund C Jones (British, 20th Century) Bird Eater, signed, dated, titled and numbered in pencil 'Rosamund C Jones, 69, 6/60' (in lower margin), etching, 30cm x 39cm, together with four other etchings to include: Dulwich Gallery by Yvonne Fuller, Culham Bird by Wendy Taylor, Reims by Karen Farden, and Symbols for Three Life-Times, signed 'Dickson' (5), May be subject to ARR
Lot 189
The First Bishops' War.- Hollar (Wenceslaus, 1607-1677) The Severall formes How King Charles his Armey enquartered in the feilds being past New Castle, on the march toward Scotland Anno Domini 1639, broadside with portrait of the King within an oval of palms, tablets with inscriptions above and below, and at right, encampments of various regiments in four compartments, etching on laid paper with indistinct watermark, sheet 393 x 322 mm. (15 1/2 x 12 3/4 in), minor handling creases, light surface dirt and browning, unframed, 1639.Literature:New Hollstein (Hollar) 265; Pennington 544⁂ Detailed plan illustrating Charles I and the camps of his army during the Scottish campaign of 1639. The portrait is based on Van Dyck's painting, now kept in the collection of the Duke of Norfolk, Arundel Castle.
Lot 195
Mary Toft.- Anonymous (1720s) The Doctors in Labour; or a New Whim Wham from Guildford, twelve scenes relating to the affair of Mary Toft, "the rabbit breeder", etching on laid paper without watermark, sheet 350 x 246 mm. (13 3/4 x 9 3/4 in), trimmed to image, with some minor nicks and areas of small loss, tipped at corners onto paper support, unframed, 1726Literature:BM Satires 1781⁂ A large and extraordinary print about one of the most notorious and amusing frauds of the early 18th century. Mary Toft was a poor illiterate Surrey woman, and "On 23 April, 1726, she declared that she had been frightened by a rabbit while at work in the fields, and this so reacted upon her reproductive system that she was delivered in November of that year first of the lights and guts of a pig and afterwards a rabbit, or rather a litter of rabbits" [DNB]. In time the miracle was exposed as an elementary piece of deception, but not before it gave rise to a torrent of pamphlets (including a poem by Pope, see Foxon D238) and several prints, including one by Hogarth. The present sheet is an excellent example of what was for the period a rather new departure in social commentary, as artists, especially the young Hogarth, expanded the range of graphic satire to include various aspects of daily life, and laid the foundations for the work of such later figures as Gillray, Rowlandson, and Cruikshank.
Lot 196
John Gay.- Anonymous (1720s) The Stage Medley Representing the Polite Tast of the Town & the matchless merits of Poet G- Polly Peachum & Capt. Macheath, etching on laid paper mounted on support with ruled black ink border, sheet 365 x 260 mm. (14 3/8 x 10 1/4 in), small repaired nicks to extremities, minor surface dirt, unframed, [1728].Literature:BM Satires 1806⁂ Satire on the popularity of Gay's Beggar's Opera, first staged in 1728, executed in the form of a medley print. At top left a print shows two oval portraits, Lavinia Fenton as Polly Peachum on the left and Thomas Walker as Macheath on the right. At bottom right is a scene in Newgate with men and women sitting round a table on which is a punch bowl and pipes; they are toasting a laureated John Gay who sits at the centre, saying 'The Beggers Opera for yr', 'G(a)y for ever', 'Let's vote him King of the Beggers' and he responds, 'Yov'e done me too great an honour but I'll -'. [BM Satires]
Lot 197
Theatre.- Boitard (Louis Philippe, fl. 1733-1767) The Player's last refuge: or the Strollers in Distress, etching and engraving, two plates printed on laid paper with fleur-de-lis watermark, total platemark 225 x 235 mm. (8 3/4 x 9 1/4 in), sheet 235 x 245 mm. (9 1/4 x 9 5/8 in), tipped at left edge onto 18th century folio leaf, the leaf with ink inscription 'No. 22', unframed, published Bispham Dickinson, 1735. Literature:BM Satires 2146⁂ Scarce. A satire on Sir John Barnard and his bill of December 1735 to limit the number of playhouses; with references to Hamlet, Falstaff, Colley Cibber, Theophilus Cibber, Henry Fielding and others.
Lot 201
Corpulency.- Bowles (Carington, publisher, 1724-1793) Mr Edward Bright late of Maldon in the county of Essex aged 29 years, etching and engraving on laid paper with armorial device within concentric circles surmounted by a crown, sheet 345 x 245 mm. (13 1/2 x 9 1/2 in), trimmed on or just within platemark, minor surface dirt, unframed, [circa 1750-55].Literature:BM Satires Undescribed⁂ Mr Edward Bright died on 10th November 1750, aged 29 years. He weighed 43 and a half stone.
Lot 202
Circus.- Scottish Acrobatics.- Bull (Fenwick, publisher, active 1750s) Duncan Macdonald, of the Shire of Caithness Gent. the Celebrated Scotish Equilibrist, broadside with large etching and engraving after a drawing by Louis Philippe Boitard showing MacDonald performing, with two columns of letterpress text below, on cream laid paper with indistinct watermark, sheet 425 x 285 mm. (16 3/4 x 11 1/4 in), minor nicks at extremities, handling creases, light surface dirt, 1753.⁂ 'One of the more remarkable illustrations of an entertainer ever recorded' [Ricky Jay]. ESTC records no other copies, but one copy is held in the British Museum (see acc. no. 1851,0308.444). Another copy was used as the front cover illustration to Ricky Jay's 'Extraordinary Exhibitions: Broadsides from the Collection of Ricky Jay', 2005. Jay suggests that 'it is thought that the famous description of a wire walker in Tobias Smollett's novel Humphrey Clinker was inspired by this engraving. The character Winifred Jenkins reports: "I saw such tumbling and dancing on ropes and wires that I was frightened and ready to go into a fit. I tho't it was all enchantment, and believing myself bewitched, began to cry. You knows as how the witches in Wales fly on broom-sticks; but here was flying without any broomstick or thing in the varsal world, and firing of pistols in the air and blowing of trumpets and singing, and rolling of wheelbarrows on a wire (God bless us!) no thicker than a sewing thread; that to be sure they must deal with the Devil." [Jay, op. cit. p. 34]
![Sandby (Paul, 1731-1809) Puggs Graces etched from his original daubing, etching [recto] with letterpress text [verso], on cre](https://cdn.globalauctionplatform.com/f8d9d0f1-8a67-4bd2-bca3-a94b01137c7a/98b82204-6c7a-439c-e3fc-c4acdcfed740/468x382.jpg)
Lot 203
Sandby (Paul, 1731-1809) Puggs Graces etched from his original daubing, etching [recto] with letterpress text [verso], on cream laid paper without watermark, platemark 230 x 230 mm. (9 x 9 in), sheet 300 x 240 mm. (11 3/4 x 9 1/2 in), minor nicks to edges, expertly repaired tear to upper right corner, unframed, 1753.Literature:BM Satires 3242⁂ Satire on Hogarth's 'Analysis of Beauty'.
Lot 209
Curiosities.- Cruikshank (George, 1792-1878) The Mermaid! - Now exhibiting at the Turf Coffee-house - 39 St. James's Street, etching with original hand-colouring on wove paper without watermark, platemark 250 x 175 mm. (9 7/8 x 6 7/8 in), sheet 290 x 215 mm. (11 1/2 x 8 1/2 in), good margins, minor cockling and handling creases, light surface dirt, unframed, George Humphrey, 1822; together with Isaac Cruikshank's A group playing at cards interrupted by a beadle and watchmen to arrest them for playing past midnight, and A long headed assembly!!, etchings with hand-colouring, each approx. 240 x 350 mm. (9 1/2 x 13 3/4 in), unframed, 1807 (3).Literature:(The Mermaid!) BM Satires 14431
Lot 609
William Holman Hunt OM (1827-1910) - 'The Fathers Leave-Taking', extensively inscribed on an exhibition label verso with the title and date 1879; together with details of the pristine condition and rarity of this proof impression, black and white etching, 7.25" X 9.75" (pl) **Provenance: with Julian Hartnoll, dateable to 18th October and 7th November 1879
Lot 309
Indian Company School, 19th Century, Four watercolours of Indian men, including a gentleman standing full-length, in a lilac coat, carrying a case, 11 x 7 cm (4.5 x 3in); A musician playing a small stringed instrument, 13.5 x 9.5 cm (5.5 x 4in); A nobleman in a white turban, carrying a sword, seated on a carpet, 14.5 x 9.5 cm (6 x 4in); A man with a stick, 13 x 8 cm (5 x 3in); together with a representation of the God Ganesh, seated and resting against a pillow, holding a white water lily, 13 x 9.5 x (5.5 x 4in) watercolour and Indian ink on paper (5); together with Three paintings on mica, two depicting Indian noblemen carried in palanquins, both 9 x 15 cm (3.5 x 6in); and another of a nobleman riding a camel, 9 x 13cm (3.5 x 5in), Indian ink on mica, framed (3); also two Mughal miniature paintings, Tiger and deer hunt with hunters riding in on a horse and on top of an elephant, with script above, 22 x 13 cm (8.5 x 5in); Portrait of a Prince, in a red dress and a turban, inscribed below the sitter, 15 x 10 cm (6 x 4in), gouache on paper (2); French School, 19th Century, A Fallen Napoleonic soldier with his horse beside him, a trumpet on the ground, watercolour, 7 x 10cm; and Charlton Nesbit (British, 1775–1838), A Pastoral scene with a peasant watching a flock of birds, etching, 6 x 8cm (12 watercolours in total)
Lot 10
Rembrandt van Rijn (1606-1669) Christ seated disputing with the doctorsEtching with touches of drypoint, 1654, a very well inked impression with strong contrasts and little wear of New Hollstein's second state (of two), on thin laid paper without watermark, platemark 95 x 145 mm. (3 3/4 x 5 3/4 in), sheet 155 x 192 mm. (6 1/8 x 7 1/2 in), unusually wide margins, light spotting and exposure lines from previous mounts, edges reinforced verso, light cockling upper right corner, unframed.Literature:Hind 277; New Hollstein 281 ii/ii
Lot 102
δ Marc Chagall (1887-1985)Moses Receiving the Ten Commandments (Cramer Books 30)Etching with hand-colouring in watercolour, 1958, initiallad and numbered from the edition of 100 in pencil, on Arches paper, from 'The Bible' series, with full margins, sheet 535 x 390mm (21 x 15 3/8in) (unframed)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Lot 108
δ Salvador Dali (1904-1989)Plaza Mayor (Duel in the Sun) (M & L 582b; Field 73-11)Etching with pochoir in colours, 1973, signed and numbered in roman numerals from the edition of 150 in pencil, on japan paper, printed and coloured by Ateliers Rigal, published by Vison Nouvelle, Paris, with full margins, plate 405 x 590mm (16 x 23 1/4in) (unframed)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Lot 109
δ Salvador Dali (1904-1989)Moses (from Our Historical Heritage) (M & L 760; Field 75-4-C)Etching with pochoir printed in colours, 1975, signed and inscribed 'E.A.' in pencil, an artist's proof aside from the edition of 300, on Arches paper, published by Léon Amiel, with full margins, sheet 660 x 505mm (26 x 19 7/8in) (unframed)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Lot 11
Rembrandt van Rijn (1606-1669) Christ and the woman of Samaria among ruinsEtching and drypoint, 1634, a good impression of New Hollstein's third state (of five) with strong contrasts and depth, little signs of wear and light touches of burr still in the beard of the left disciple, the garments of the disciples and the buildings behind, on laid paper with small margins, sheet 126 x 110 mm. (4 7/8 x 4 1/4 in), minor spotting and light surface dirt, upper left corner with faint small crease, upper right corner with excellent repair to abrasion/fine split, unframed.Literature:Hind 122; New Hollstein 127 iii/v
Lot 110
δ Salvador Dali (1904-1989)Jeremiah (from Our Historical Heritage) (M & L 7521; Field 75-4-K)Etching with pochoir printed in colours, 1975, signed and inscribed 'E.A.' in pencil, an artist's proof aside from the edition of 300, on Arches paper, published by Léon Amiel, with full margins, sheet 660 x 505mm (26 x 19 7/8in) (unframed)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Lot 113
δ Salvador Dali (1904-1989)Aspiration (M & L 947d; Field 80-1H)Etching with aquatint printed in colours, 1981, signed, inscribed 'G' and numbered from the edition of 125 in pencil, on Arches paper, as included in 'Historia de Don Quichotte de la Mancha', published by Levine and Levine, New York for DALIART, with their blindstamp, the full sheet, plate 400 x 445mm (15 3/4 x 17 1/2in) (unframed)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Lot 114
δ Salvador Dali (1904-1989)L'Etalon Blanc (Hommage au cheval) (M & L 639a)The scare etching printed in sepia, 1973-1974, signed and numbered from the edition of 175 in pencil, on Arches paper, printed by Torrents, published by Ärzte-Sammlerkreis, with full margins, plate 495 x 645mm (19 1/2 x 25 3/8in) (unframed)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Lot 115
δ Salvador Dali (1904-1989)Portrait de Calderón (M & L 515a; Field 73-1-D)Etching with aquatint printed in colours, 1971, signed and inscribed 'E.A.' in pencil, an artist's proof aside from the edition of 150, on Richard de Bas wove paper, as included in 'Calderón: La Vie est un songe', printed by Ateliers Rigal, with full margins, plate 340 x 250mm (13 3/8 x 9 7/8in) (unframed)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Lot 116
δ Salvador Dali (1904-1989)Birth of Venus (M & L 492; Field 71-8A)Etching, 1970, signed and inscribed 'E.A.' in pencil, one of 50 artist's proofs aside from the numbered editions of 150, on Auvergne wove paper, as included in 'Suite mythologique nouvelle', printed by Ateliers Rigal, published by Vision Nouvelle, the full sheet, plate 580 x 390mm (22 3/4 x 15 3/8in) (unframed)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Lot 117
δ Salvador Dali (1904-1989)Visión del Paraíso (M & L 800d; Field 73-1-K)Etching with aquatint printed in colours, 1975, signed and numbered from the edition of 75 in pencil, on Arches paper, as included in 'Life is a Dream', printed by Branons-Duplessis, published by Subirana, with full margins, sheet 316 x 382mm (12 1/2 x 15in) (unframed)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Lot 118
δ Salvador Dali (1904-1989)Le Péché partagé (M & L 552c; Field 72-8A)Etching printed in colours, 1972, signed in pencil, from the French edition of 124, on Arches paper, as included in 'Le Décameron', printed by Ateliers Rigal, published by Michèle Broutta and Pamela Verlag, with full margins, plate 172 x 125mm (6 3/4 x 5in) (unframed)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Lot 119
δ Salvador Dali (1904-1989)Le Tonneau (M & L 558; Field 72-8-G)Etching printed in colours, 1972, signed in pencil, from the French edition of 124, on Arches paper, as included in 'Le Décameron', printed by Ateliers Rigal, published by Michèle Broutta and Pamela Verlag, with full margins, plate 172 x 125mm (6 3/4 x 5in) (unframed)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Lot 12
Rembrandt van Rijn (1606-1669) The Descent from the Cross: Second PlateEtching and engraving, 1633, a good but later impression of New Hollstein's eighth state (of eight), dark and evenly printed with Lamoureux's address on thick laid paper, good margins, platemark 535 x 405 mm. (21 x 16 in), sheet 547 x 428 mm. (21 1/2 x 16 7/8 in), faint central horizontal fold, unframed.Literature:Hind 103; New Hollstein 119 viii/viii
Lot 120
δ Salvador Dali (1904-1989)La Jument de Compère Pierre (M & L 560c; Field 72-8I)Etching printed in colours, 1972, signed in pencil, from the French edition of 124, on Arches paper, as included in 'Le Décameron', printed by Ateliers Rigal, published by Michèle Broutta and Pamela Verlag, with full margins, plate 172 x 125mm (6 3/4 x 5in) (unframed)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Lot 121
δ Salvador Dali (1904-1989)La Ressuscitée (M & L 561c; Field 72-8J)Etching printed in colours, 1972, signed in pencil, from the French edition of 124, on Arches paper, as included in 'Le Décameron', printed by Ateliers Rigal, published by Michèle Broutta and Pamela Verlag, with full margins, plate 172 x 125mm (6 3/4 x 5in) (unframed)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Lot 124
δ Salvador Dali (1904-1989)L'Homme ressucité par l'holographie de l'écureuil (M & L 567b; Field 73-20A)Etching with heliogravure, 1975, signed and numbered from the edition of 210 in pencil, on Richard de Bas wove paper, printed by Ateliers Rigal, as included in 'Dix Recettes d'immortailité', published by Audouin/Descharnes, Paris, the full sheet, 395 x 575mm (15 1/2 x 22 5/8in) (unframed)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Lot 13
Rembrandt van Rijn (1606-1669) Joseph Telling his DreamsEtching, 1638, a good but later impression of New Hollstein's fifth state (of six), evenly printed with depth and the diagonal strokes on the face of the bearded man seated, but before further reworking, on light-blue coloured laid paper without watermark and with good margins, platemark 111 x 83 mm. (4 3/8 x 3 1/4 in), sheet 126 x 94 mm. (4 7/8 x 3 3/4 in), unframed.Literature:Hind 160; New Hollstein 167 v/vi⁂ A rare and unusual example of a Basan-era impression printed on light-blue coloured laid paper.
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