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Click here to subscribeRembrandt van Rijn (1606-1669) The Pancake WomanEtching with light plate tone, 1635, a good but later impression of New Hollstein's final state (of seven), on laid paper without watermark, with small margins, platemark 109 x 77 mm. (4 1/4 x 3 in), sheet 114 x 83 mm. (4 1/2 x 3 1/4 in), fine printers' crease to upper margin, unframed.Literature:Hind 141; New Hollstein 144 vii/vii
Rembrandt van Rijn (1606-1669) The GoldsmithEtching and drypoint with light plate tone, 1655, a good but later impression of New Hollstein's third state (of three), well inked and evenly printed on wove paper without watermark, with good margins, platemark 78 x 57 mm. (3 x 2 1/4 in), sheet 90 x 65 mm. (3 1/2 x 2 1/2 in), unframed.Literature:Hind 285; New Hollstein 289 iii/iii
δ Pablo Picasso (1891-1973)Repos du sculpteur (Bloch 174)Etching, 1933, signed in pencil, from the edition of 260, on Montval laid paper with the Picasso Watermark, published by A. Vollard, Paris, with full margins, plate 193 x 268mm (7 5/8 x 10 1/2in) (unframed)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
δ Pablo Picasso (1881-1973) (after)Tete d'homme barbuEtching printed in colours, 1967, signed and numbered from the edition of 200 in pencil, on Arches paper, withmargins, sheet 675 x 521mm (26 1/2 x 20 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) The Raising of Lazarus: The Larger PlateEtching and engraving, circa 1632, a good later impression of New Hollstein's eighth state (of nine), before further reworking, on cream laid paper without watermark, good margins with well repaired tear to lower edge going into the image, other small nicks, slight splitting of paper along platemark at upper left, platemark 367 x 255 mm. (14 1/2 x 10 in), sheet 390 x 270 mm. (15 3/8 x x 10 3/4 in), unframed.Literature:Hind 96; New Hollstein 113 viii/ix
δ Kees Van Dongen (1877-1968)Girl With Swan's Neck (Juffermans 3)Etching, circa 1925, a proof aside from the edition of 200, on Arches paper, with margins, plate 218 x 159mm (8 5/8 x 6 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 Jan Wiegers (1859-1959)CollectionWoodcut; etching; lithograph; 1924-1958, each signed, dated and variously inscribed in pencil, on various papers, various sizes (3) (unframed)Titles: Haus El Kirchner; Kirchners Wohnhaus auf dem Wildboden mit Blick ins Sertig und der Figur Eva vor dem Haus; Tower in Amsterdamδ 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 Angel Appearing to the ShepherdsEtching, engraving and drypoint, 1634, but a later impression of New Hollstein's third state (of six) on laid paper without watermark, sheet 263 x 221 mm. (10 3/8 x 8 3/4 in), trimmed on or just within the platemark, some wear but before reworking, with four or five restored pin-holes to sheet, unframed.Provenance:Albert van Loock (b. 1917), Brussels, [L. 3751]Literature:Hind 120; New Hollstein 125 iii/vi
Jim Dine (b. 1935)Bolt Cutters (first state) (Krens 143)Etching, 1972, signed, dated and numbered from the edition of 75 in pencil, on Hodgkinson Mould Made paper, the full sheet, printed by Maurice Payne, published by Petersburg Press, London, the full sheet, 1016 x 762mm (40 x 30in) (unframed)
Jim Dine (b. 1935)Watercolour Marks (Kerns 163)Etching extensively heightened with watercolour hand-colouring, 1973, signed, dated and numbered from the edition of 55 in pencil, on American Etching paper, printed by Alan Uglow and Winston Roeth, published by Petersburg Press, New York, the full sheet, 1105 x 840mm (40 x 33in) (unframed)
Jim Dine (b. 1935)The New French Tools 3 - For Pep (D'Oench & Feinberg 173)Etching with aquatint, 1984, signed, dated and numbered from the edition of 50 in pencil, on BFK Rives buff paper, printed by Atelier Crommelynck, Montparnasse, published by Pace, New York, the full sheet, 1067 x 765mm (42 x 30in) (unframed)
Rembrandt van Rijn (1606-1669) The Flight into Egypt: A Night PieceEtching and drypoint with light plate tone, 1651, but a later impression of New Hollstein's eighth state (of ten) with fine shading to Joseph's cheek but before further reworking, on laid paper without watermark, platemark 126 x 110 mm. (5 x 4 1/4 in), sheet 130 x 115 mm. (5 1/8 x 4 1/2 in), small margins, unframed.Provenance:Albert van Loock (b. 1917), Brussels, [L. 3751]Literature:Hind 253; New Hollstein 262 iv/vi
δ Keith Coventry (b. 1958)History Etching (Diptych)The pair of etchings, 2008, each signed and numbered from the edition of 50 in pencil, each on Somerset wove paper, published by Paul Stolper, London, each the full sheet, 610 x 485mm (24 x 19in) (framed) (2) δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
δ Lucian Freud (1922-2011)Head and Shoulders (Hartley 21)Etching, 1982, the second and final state, initialled in pencil and inscribed 'Studio Proof', a rare proof aside from the edition of 20, on Somerset wove paper, printed by Palm Tree Studios, London, with their blind stamp, the full sheet, plate 248 x 298mm (9 3/4 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 Antony Gormley (b.1950)Feeling MaterialEtching printed with tone, 2014, signed and numbered from the edition of 100 in pencil verso, on Somerset cotton rag paper, housed within the original black cloth portfolio, with full margins, sheet 310 x 274mm (12 1/2 x 10 7/8in) (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)St. Jerome in a Dark ChamberEtching with plate tone, 1642, a detailed and delicate impression of New Hollstein's second state (of three) with curtain at right partly burnished into a concave outline, before any later re-working, on laid paper with partial watermark of a Strasbourg lily crown [probably Hinterding's 'C-i-a', datable to 1642], sheet 150 x 170 mm. (5 7/8 x 6 3/4 in), trimmed on or just within the platemark, minor rubbing and surface dirt, unframed.Literature:Hind 201; New Hollstein ii/iii
δ Henry Moore (1898-1986)Mother and Child IX (Cramer 679)Etching, 1983, signed, inscribed 'PL IX' and numbered from the edition of 65 in pencil, on Arches wove paper, from the Mother and Child album, printed by James Collyer and John Crossley, with their blindstamp, published by Raymond Spencer Company Ltd for The Henry Moore Foundation, Much Hadham, with full margins, sheet 521 x 440mm (20 1/2 x 17 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 John Piper (1903-1992)Nude II (Levinson 390)Etching with aquatint, 1986-1987, signed in pencil, on Arches paper, printed at Kelpra Studio, published by Marlborough, London, with full margins, sheet 718 x 508mm (28 1/4 x 20in) (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) 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, well-inked on thin Japan-like wove paper without watermark, sheet 210 x 164 mm. (8 1/4 x 6 1/2 in), trimmed on or just within the platemark, minor nick to surfaced in lower left quadrant, sheet appears to be laid onto thin tissue support, unframed.Provenance:Albert van Loock (b. 1917), Brussels, [L. 3751]Literature:Hind 280; New Hollstein 286 iii/iv
Rembrandt van Rijn (1606-1669) The Raising of Lazarus: Small PlateEtching with touches of drypoint, 1642, a well inked but later impression of New Hollstein's second state (of two), evenly printed with depth and Lazarus's forehead shaded with small parallel diagonal lines in drypoint, on light-blue coloured laid paper with partial watermark, possibly part of a small armorial device, good margins, platemark 150 x 113 mm. (5 7/8 x 4 1/2 in), sheet 165 x 125 mm. (6 1/2 x 4 7/8 in), unframed.Literature:Hind 198; New Hollstein 206 ii/ii⁂ A rare and unusual example of a Basan-era impression printed on light-blue coloured laid paper.
Rembrandt van Rijn (1606-1669) Man drawing from a castEtching, circa 1641, but a later impression of New Hollstein's fifth state (of six), before further reworking, on cream wove paper without watermark laid onto thin tissue, sheet 96 x 67 mm. (3 3/4 x 2 5/8 in), trimmed to platemark or just within, unframed.Literature:Hind 191; New Hollstein 192 v/vi
Rembrandt van Rijn (1606-1669) St Jerome Kneeling in Prayer, Looking DownEtching, 1635, but a later impression of New Hollstein's second state (of two), lightly re-worked around the right elbow on cream laid paper without watermark, platemark 112 x 81 mm. (4 1/2 x 3 1/4 in), sheet 123 x 94 mm. (4 7/8 x 3 3/4 in), good margins, unframed.Literature:Hind 140; New Hollstein 142 ii/ii
Rembrandt van Rijn (1606-1669) A Peasant in a High Cap, Standing Leaning on a StickEtching, 1639, a very good but later impression of New Hollstein's second state (of two), without any re-working but with the two dots in the upper right corner, on cream laid paper without watermark, platemark 83 x 46 mm. (3 1/4 x 1 3/4 in), sheet 98 x 59 mm. (3 7/8 x 2 1/4 in), good margins, unframed.Literature:Hind 164; New Hollstein 178 ii/ii
δ David Hockney (b.1937) Made in April (M.C.A. Tokyo 188) Etching with aquatint printed in colours, 1976-77, signed and numbered from the edition of 200 in pencil, on wove paper, as included in the portfolio The Blue Guitar, published by Petersburg Press, London and New York, with full margins, sheet 525 x 456mm (20 5/8 x 18in) (framed) In 1976, Hockney spent the summer in New York where he discovered a collection of poems by Wallace Stevens. He found the poem 'The Man with the Blue Guitar' particularly captivating. This poem was in fact inspired by Steven's encounter with Pablo Picasso's famous The Old Guitarist in 1936. For the poet, the blue guitar and its music become symbols for artistic creativity. It is of little surprise then, that the young Hockney drew rich inspiration from both iconic works. Shortly thereafter he produced ten drawings that interpreted both the poem and Picasso's style in his own way. The present portfolio is the result, which bears the fitting title: The Blue Guitar, etchings by David Hockney, who was inspired by Wallace Stevens, who was inspired by Pablo Picasso. 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 artist's mother: head only, full faceEtching, circa 1628, a good impression of this rare little print, New Hollstein's second state (of two) with completed hood, on laid paper without a watermark, sheet 43 x 54 mm. (1 1/4 x 2 1/8 in), trimmed within the left edge and the blank space above, with thread margin below, minor surface dirt, unframed.Literature:Hind 2; New Hollstein 6 ii/ii
δ Colin Self (b.1941)Figure 1 (Sidey 1059)Etching, 1971, signed and numbered from the edition of 60 in pencil, on Crisbrook paper, printed and published by Editions Alecto, London, with full margins, sheet 686 x 540mm (27 x 21 1/4in) (framed)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
δ Joe Tilson (b.1928)ProrosiaEtching with aquatint printed in colours, 1978, signed, dated and numbered from the edition of 70 in pencil, on wove paper, with full margins, sheet 750 x 845mm (29 1/2 x 33 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 Joe Tilson (b.1928)Mask of OceanosEtching with aquatint printed in colours, 1984, signed, dated and numbered from the edition of 40 in pencil, on wove paper, published by Waddington Graphics, London, the full sheet, 1145 x 1035mm (45 x 40 3/4in) (unframed)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Michele Lehmann (Irish) - etching of a woman's head 9/25, signed and dedicated My First Etching to Lynn & Val, 17 1/2" x 12 6/8", a smaller etching of rural Irish folk 60/150, signed, 4 2/8" x 13" and a Christmas card 3/A, a signed etching with greetings to Lynn & Val to insideProvenance: Val Doonican's Estate and thence by descent
ALBRECHT DURER (1471-1528), a coloured etching of a Knight on his horse, mounted, framed and glazed, approximate size 40.5cm x 30cm, together with a June Vickery watercolour of mallards on a riverbank, signed and dated 1979, and an Alan Ingham open edition print 'Spring in the Dales', both mounted, framed and glazed (3)
Eileen A Soper (1905-1990), The Shadow, monochrome etching, signed, 11 x 7cm visible, together with a further monochrome etching signed by the same hand, little girl amongst grasses watching a butterfly, 12 x 11cm visible approx, also together with a monochrome print after George Soper (1870-1942) of a South Down shepherd, 17 x 25cm approx, all framed
Gillian Lawson (20th century British) - Gone Fishing, signed coloured limited edition, etching, 56 x 56 cm, together with a further artists proof by the same hand - Village Pond, 54 x 65 cm, further signed coloured limited edition etching after Anna Pugh, Wild Geese, a watercolour landscape signed George Cutler and a framed montage including three five pound notes, all framed
Sir David Young Cameron, RA, RSA, (Scottish 1865-1945) - The Sutherland Hills, watercolour, signed, inscribed to mount and with label verso from Wallis & Son, New Bond Street, London, 20 x 34cm, framed, together with further works by the same hand, including a monochrome etching of Dieppe Castle, signed, 26 x 42cm, framed, a monochrome study of a figure beside a building, with initials DYC and with Leggatt Brothers Gallery label verso, 25 x 19cm, framed and a coloured print - The Shadows of Glencoe, unframed
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