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Click here to subscribeDavid Hockney, aquatint etching ' He Tore Himself in Two ', from the story ' Rumpelstilzchen ' for six fairy tales from the Brothers Grimm, Edition of 15 artists proofs aside from the portfolio Edition of 100, 17ins x 11.75ins (Artists Resale Rights may apply) CONDITION REPORT Good condition, no foxing or signs of any damage. It is not signed.
James McNeill Whistler, an original etching ' Rotherhithe ' (W60), a sailor smoking on a quayside together with another ' Billingsgate ', sailing boats moored at a quayside (margins trimmed) and two other facsimile etchings CONDITION REPORT Busy boating scene is completely trimmed, no margin left, image of St James Street is a reprint but not etching (old 1878 print)Others are framed and mounted so cannot see how much of margins are left.Whistler - is a full sheet with a straight edge to right hand side, unsigned and in original frame. It is stuck down onto card but just around the edges. It is original and has come in privately from a local vendor.
'Vienna', three colour etchings on silk signed in pencil by Hans Figura (Austrian 1898-1978), 'Vienna Graben', etching signed by Robert Kasimir (Austrian 1914-2002) and 'Le Sacre Coeur..', ltd.ed etching No.108/200 signed in pencil by Aimé Edmond Dallemagne (French 1831-1914) titled verso max 44cm x 20cm (5) Condition Report Click here for further images, condition, auction times & delivery costs
CONTEMPORARY SCHOOL, RENDEZ-VOUS etching, signed indistinctly; titled, dated 1978 and numbered 13/25 in pencil 5.5cm x 7.8cm Mounted, framed and under glass and and * Margaret Hunter, pencil sketch; and Bag Lads pencil on paper; and a watercolour, each signed 20cm x 12cm; and Mounted, framed and under glass
Rembrandt van Rijn (1606-1669) Christ Crucified Between the Two Thieves: an oval plate, etching, a good impression of New Hollstein's second state (of three), on laid paper with partial watermark of Strasbourg lily (similar to Hinterding's B-i, datable to 1650s), platemark 133 x 98 mm. (5 1/4 x 3 7/8 in), sheet 136 x 101 mm. (5 3/8 x 4 in), tipped onto paper support along left edge, minor surface dirt, unframed, circa 1641 and later. Provenance:Probably Chevalier de Damery (d. 1803?) [L.2862]; indistinct 5 mm. circular blind stamp lower right recto
Rembrandt van Rijn (1606-1669) Three oriental figures (Jacob and Laban?), etching with delicate plate tone, a well inked impression of New Hollstein's second state (of two), on cream laid paper without watermark, platemark 145 x 114 mm. (5 3/4 x 4 1/2 in), sheet 152 x 120 mm. (6 x 4 3/4 in), some small spots, the largest just above the figure furthest on the right, unframed, [circa 1641, but later].Literature:New Hollstein 190
Rembrandt van Rijn (1606-1669) The Circumcision in the Stable, etching, a richly inked impression of New Hollstein's final state (of five), on fine cream laid paper with partial watermark of Strasbourg lily (probably late 18th century), platemark 95 x 144 mm. (3 3/4 x 5 3/4 in), sheet 111 x 162 mm. (4 3/8 x 6 3/8 in), some small spots, unframed, [circa 1654, but later].Provenance:Unidentified collector's stamp verso, 'Collectie/ P. B. [?...]Man/ AmsterdamLiterature:New Hollstein 280
French and Spanish engravers.- Reverdy (Georges, ca. 1529-1557) The Holy family, after Parmigianino, after Schiavone, engraving, an excellent impression on thin laid paper without watermark, sheet 118 x 87 mm. (4 5/8 x 3 3/8 in), trimmed on platemark, inset at edges onto paper support, small repairs to nicks and tears at extremities, old ink attribution verso, unframed, [circa 1530-1550] § Audran (Gérard, 1640-1703) Christ hands over the keys to St Peter, after Raphael, etching on laid paper without watermark, sheet 105 x 175 mm. (4 1/8 x 6 7/8 in), trimmed to image with thread margin around borderline, inset at edges onto paper support, some browning and stains, rubbing and handling creases, with 'very scarce' inscribed on mount and verso, unframed, [circa 1660-1700]; Sorello (Miguel de, ca. 1700-1765) Christ hands over the keys to St Peter, after Raphael, etching and engraving, 265 x 370 mm. (10 1/2 x 14 1/2 in), central vertical fold, inset at edges onto paper support, unframed, [early to mid-18th century]; together with a good mixed group of various old master prints, including Sebastiano Fulcaro's (ca. 1612-1640) The Last Judgement, after Michelangelo, an anonymous 16th century Adoration of the Shepherds, published by Lafrery, Battista Franco's (1510-1561) An antique subject depiciting three men, [B. 71], Camillo Cungi's (fl. 1597-1649) The Pietà, and three others, all unframed, mainly 17th and early 18th century (10).Provenance:(Reverdy) William Esdaile (1758-1837), London [L. 2617]⁂ A group of scarce and unusual prints. We have been unable to find any other records at auction for the first three mentioned. Initially considered to be Italian by Bartsch, Reverdy was infact French, and worked as a printer in Lyon during the French Renaissance. For another impression of the Reverdy etching, of inferior quality, see the Mariette Album, held in the Met Museum, New York (acc. no. 27.78.2(312)), and at the BM (acc. no. W,1.82).
Parmigianino (Girolamo Francesco Maria Mazzola, 1503-1540) The Entombment, etching, a delicate impression, on laid paper with small watermark of a flower (not in Briquet, but 16th century), sheet 275 x 210 mm. (10 7/8 x 8 1/4 in), trimmed on the platemark with some still showing, inset at edges onto paper support, two areas of loss in the upper right quadrant with old restoration with printed facsimile, small nicks and tears to extremities, scattered ink spots in the upper centre, light horizontal fold and minor surface dirt, unframed, [circa 1503-1540].Literature:Bartsch 8cf. Popham, A.E., 'Catalogue of the drawings of Parmigianino', 1971, I, pp.13-17 ⁂ Previously thought by Bartsch to be a copy by Guido Reni after Parmigianino.
Printing plate.- Schulze (Christian Gottfried, 1749-1819) Portrait of Prince Alexander Mikhailovich Beloselsky, after Giovanni Battista Casanova (1728-1795) and Jacob Seydelmann (1750-1829), original copper plate with etching and engraving, plate 630 x 420 mm. (24 3/4 x 16 1/2 in), light abrasion in places, unframed, [circa 1770-1800].
KERR EBY (1889-1946) Scout Planes at Dawn, etching, pencil signed in the margin from an edition of 90, 33 x 22cm; and two further to include: Henry Rayner - 'Waterloo Bridge Construction 1936', etching, pencil signed in the margin, 14 x 22cm; and John Coleman - 'HMS Auckland', lithograph, pencil signed in the margin, titled and dated 1939, 20 x 25cm (3)
WALTER WILLIAM BURGESS (1856-1908) 'Lindsey Wharf and Jetty, Old Chelsea', etching, pencil signed and titled in the margin, 13 x 26cm; another by the same hand - 'Madame Venturi's House, Kings Road, Chelsea', also signed in pencil to the margin and titled, 9 x 24cm; and one further by Herbert Menzies Marshall - The Thames with Tower of London, 15 x 22cm (3)
EDWARD BOUVERIE HOYTON (1900-1988) 'Wooda Bay', etching, pencil signed in the margin and inscribed with title on the mount', 13 x 14.5cm; another attributed to the same hand - Figure approaching a cottage, inscribed in pencil to the margin and numbered 1/100, 25 x 35cm; and Alfred Richard Blundell (1883-1968) - 'The End of The Glade', mezzotint, pencil signed in the margin, 16.5 x 25cm, all mounted but unframed (3)
William Wilson OBE RSA RSW (Scottish 1905-1972), fishing nets drying, with boats and figure in a coastal village, etching, printed signature and signed and dated in pencil, 1930, 23cm by 28cm, together with another similar etching of a fishing village with nets drying, signed in pencil, 17cm by 17cm
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