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Lot 333
AFTER JOHN ATKINSON "October", a plough team on the crest of a hill, Etching, signed and titled in pencil, 20cm x 27.5cm mounted in ebonised and glazed frame, AFTER MILES "Marsh Harrow", a coloured Aquatint, signed, dated 1978 and titled in pencil, 29.5cm x 40cm mounted in gilt glazed frames, and AFTER PHILIP JOHN WHITTY "Harvest Time", horses and reaper and similar horse team and binder, Limited edition black & white Prints, signed and dated in pencil, 28.5cm x 41cm mounted in wooden glazed f rames (4)
Lot 361
A COLLECTION OF ORIGINAL OILS & PRINTS; Peter L'Estrange "Stately Home" Oil sketch on paper, signed and dated, 20 x 38cm H. Firkray "Autumn River Landscape" Oil, signed, 15 x 19cm 20th century European "Small beached Sail Boat" artist's proof etch ing, signed in pencil, 9 x 8.5cm and After Martin Caulkin - limited edition print and etching of aquatint signed in pencil, all framed (5 total)
Lot 246
Rembrandt van Rijn (1606-1669) Portrait of Jan Uytenbogaert, preacher of the Remonstrants, etching, with roulette work, a well inked impression of New Hollstein's ninth state, on laid paper without watermark, platemark 225 x 187 mm. (8 7/8 x 7 3/8 in), sheet 237 x 198 mm. (9 3/8 x 7 3/4 in), under glass, 1635, but later.Provenance:Halcyon Gallery, London (label on reverse)Literature:New Hollstein 129 ix/ix
Lot 247
Larmessin (Nicolas de) "Costumes grotesques", fantastic figures composed of the tools or attributes of their trades, 19 plates from the series, copper engravings with etching, trimmed to the outer borderlines and below titles, each c. 270 x 183 mm.(10 3/4 x 7 1/4 in), mounted, occasional slight spotting and other minor defects, several short repaired tears and a few small losses in blank corners of titles, 2 plates with rubbed spots on faces, 3 plates with more extensive repaired tears, nineteenth century cloth-backed patterned boards, rubbed, folio (365 x 263 mm.), [Paris, c. 1710]⁂ These celebrated prints by the Larmessin family have a complex bibliography. Nicolas I de Larmessin (or L'Armessin) (1632-1694) engraved and published approximately 62 plates in his lifetime. His widow Marie Bertrand added 14 plates from his designs and his younger brother Nicolas II (c.1645-1725) engraved a further 22 plates from 1695. The present plates are from the slightly later issue which omitted background details.The following trades are represented: Cook, Furrier, Ploughman, Tailor, Perfume maker, Playing card maker, Hosier, Winegrower, Hatter, Coffee dealer, Coin maker, Upholsterer, Baker, Butcher, Ivory-turner, Mason, Comb maker, Locksmith and Basket maker. The last five listed are those with more significant defects.
Lot 249
Piranesi (Giovanni Battista, 1720-1778) Veduta della fonte e delle Spelonche d'Egeria, from: Vedute di Roma, etching and engraving, Hind's third state (of 5), a good impression on laid paper, platemark 402 x 690 mm. (15 1/8 x 27 3/4 in), sheet 450 x 730 mm. (17 3/4 x 28 3/4 in), good margins, minor surface dirt, small restoration to loss at centre, [1766]; Veduta del Ponte Lugano su l'Anione, from: Vedute di Roma, etching and engraving, Hind's first state (of 4) with the artist's address and price, a good impression on laid paper, platemark 460 x 660 mm. (18 1/4 x 26 in), two repaired tears upper left and right, small repair lower centre, [1763] (2).Literature:Hind 80; 68
Lot 250
Goya (Francisco, 1746-1828) Self-Portrait, plate 1 from Los Caprichos, etching and aquatint, a good impression from a later edition, on smooth cream wove paper, without watermark, platemark 215 x 150 mm. (8 1/2 x 5 7/8 in), sheet 300 x 190 mm. (11 3/4 x 7 1/2 in), minor surface dirt, unframed, 1799 and later.Provenance:Craddock and Barnard;Private collection, London.Literature:Harris 57; Delteil 59
Lot 251
Goya (Francisco, 1746-1828) Estan calientes (They are hot), plate 13 from Los Caprichos, First edition, etching and aquatint, an excellent richly inked impression, on cream laid paper, without watermark, platemark 216 x 150 mm. (8 1/2 x 5 7/8 in), sheet 300 x 190 mm. (11 3/4 x 7 1/2 in), minor surface dirt, unframed, 1799.Provenance:Craddock and Barnard;Private collection, London.Literature:Harris 48; Delteil 50
Lot 252
Goya (Francisco, 1746-1828) Pobrecitas! (Poor little girls!), plate 22 from Los Caprichos, First edition, etching and aquatint, a good impression, on cream laid paper, without watermark, platemark 215 x 150 mm. (8 1/2 x 5 7/8 in), sheet 300 x 190 mm. (11 3/4 x 7 1/2 in), minor surface dirt, unframed, 1799.Provenance:Craddock and Barnard;Private collection, London.Literature:Harris 57; Delteil 59
![Old master prints.- [Harding (George Perfect, 1780-1853)] [The Holy Bible, vol. 1., Genesis], extra illustrated volume of the](https://cdn.globalauctionplatform.com/7c8bff0e-7cd8-4a74-840e-a8cc010d5314/e2756622-da6f-4fe0-bb9d-599fe8d04358/468x382.jpg)
Lot 255
Old master prints.- [Harding (George Perfect, 1780-1853)] [The Holy Bible, vol. 1., Genesis], extra illustrated volume of the Genesis accompanying text, with original watercolour title page by Harding, a small watercolour of Adam and Eve by the same hand, and over 170 prints by and after old masters neatly presented, including eight circular engravings by Nicolaes de Bruyn after Marten de Vos, two engravings by Jan Saenredam after Abraham Bloemaert, an etching by Thomas Worlidge of the Sacrifice of Isaac, and others after Poussin, Raphael, Dürer, Guercino, Francis Hayman, Marillier, and others, engravings, etchings, two monochrome watercolours, the title page signed and dated 'G.P. Harding 1811', on various papers neatly inset into album leaves, some interleaves watermarked with date 1812, various sizes, largest approx. 270 x 190 mm. (10 3/4 x 7 1/2 in), many trimmed, occasional minor surface dirt, front free endpaper inscribed 'Penelope Eyre/ with her Husbands/ affectionate love-/ Nov. 16, 1856', straight-grained morocco, gilt, scuffed and worn, 4to, compiled circa 1810-12. ⁂ George Perfect Harding was an English portrait-painter and copyist, and was particularly well known for his water-colour copies of historical portraits.
Lot 112
Fan leaf.- Behrmann & Collmann. Dia 19 de Marzo de 1808. En Aranjuez. Caida y Prision del Principe de la Paz, etching with aquatint, c.490 x 161mm. (image), framed and glazed, [London], 1813.⁂ Rare fan leaf depicting the capture of Manuel Godoy, Prime Minister of Spain, after his collusion with the French.
Lot 235
Milton (John) The Paradise Lost, 2 vol., Imperial Quarto Edition, half-titles, 24 mezzotint plates with etching by John Martin, sheets c.375 x 270mm (14 3/4 x 10 3/4in.), some foxing, mainly to text, spotting to some plates, mostly marginal but affecting a few images, light offsetting from plates, contemporary half straight-grain morocco, spines gilt, t.e.g., rubbed, spines a little faded, large 4to, Septimus Prowett, 1827.
Lot 244
Rembrandt van Rijn (1606-1669) Joseph's coat brought to Jacob, etching, a delicate impression with depth, New Hollstein's first state, some signs of light wear to the plate but before strengthening of the old woman's headdress, and with the faint outline of a second thumb below the thumb of the pointing man, on laid paper without watermark, sheet 107 x 80 mm. (4 1/4 x 3 1/8 in), trimmed just within the platemark, inset onto paper support at edges, with ruled black ink border, numbered '35' in brown ink verso, some spotting and browning, printer's thumb print upper right corner, skimming to upper right corner verso, circa 1633.Provenance:Martin Folkes, London (1690-1754) [L. 1033];Presumably his sale, Langford, London, 17th January 1756 (and seven following days)Literature:Hollstein 122 i/ii
Lot 245
Rembrandt van Rijn (1606-1669) The Return of the Prodigal Son, etching, a good impression with light plate tone of New Hollstein's second state (of 3), some lines lightly re-worked in the landscape to the left, on laid paper without watermark, platemark 155 x 135 mm. (6 1/8 x 5 1/4 in), sheet 165 x 142 mm. (6 1/2 x 5 7/8 in), tipped at upper edge onto mount support, small hole upper centre, pin holes and silverworm damage upper left, even spotting and browning, circa 1636.Literature:Hollstein 159
Lot 333
§ John Brunsdon, ARCA (British, 1933-2014) Nocturne, signed lower right "John Brunsdon" and numbered 5/75, 75 x 58cm (29.5 x 23in), Thirza Kotzen (British, 20th Century), Mountain IX (Emergencio), with blindstamp lower right "TK", 57 x 76cm (22.5 x 30in); and Michael Stokoe (British, b.1933), Orange Tide, signed lower right "Michael Stokoe", and numbered 7/20, 57 x 76cm (22.5 x 30in) three in one sleeve, etching with aquatint, unframed (3) All unframed - the Brunsdon has two areas of brown dirt (?) left and right hand corners in the cream mount.
Lot 350
§ Norman Stevens (British, 1937-1988) Painswick, Moonlight signed lower right "Norman Stevens '79" , numbered 60/150, and with Christie's blindstamp etching and aquatint 57 x 76cm (22 x 30in) Provenance: Christie's Contemporary Art, London Under glass and corners appear stuck down, with some brown discolouration.
Lot 781
A collection of prints and etchings, etc including a signed coloured etching by Robert Cresswell Boak, (1875-1949) showing Helen's Bay, County Down, 14 x 26 cm, a further signed etching of The Moorings, Burnham, Overy Staithe by Graham Dudley Page, 13 x 20 cm, a pair of small signed coloured etchings by Claude Rowbotham of scenes at Falmouth 7 x 12 cm, etc, various sizes, all framed
Lot 104
Henry William Bunbury (1750-1811), 'Newmarket, a shot at pigeon' and 'The Sinking Fund', engravings, H.22cm W.26cm, together with a 19th century engraving 'The City Gates as they appeared before they were pulled down', H.20cm W.30cm, a W.Hawksworth etching of St.Paul's Cathedral H.10cm W.13.5cm, and two engravings of St. Paul's and Mansion House
![[NELSON HORATIO]: (1758-1805) British Admiral during the Napoleonic Wars, the victor of the Battle of Trafalgar, 1805.An unu](https://cdn.globalauctionplatform.com/f7489276-42e3-44e9-9792-a8e300dd03ba/25b2891e-84c1-4d82-ffac-c93f28a6abfd/468x382.jpg)
Lot 158
[NELSON HORATIO]: (1758-1805) British Admiral during the Napoleonic Wars, the victor of the Battle of Trafalgar, 1805.An unused oblong 4to printed invitation for the 'Funeral of the late Vice Admiral Horatio Viscount Nelson' (9th January 1806). With a blank space intended for the recipient's name, allowing them to be admitted 'into the procession from the Admiralty to St. Paul's Cathedral', the invitation features an etching of a heralding angel to the upper edge and at the foot, a sarcophagus with the word Trafalgar and crossed palms displayed upon it, together with a ribbon draped below the sarcophagus reading Palmam Qui Meruit Ferat (Let He Who Merits The Palm Possess It). Some dust toning to the edges and age wear, otherwise G
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71174 item(s)/page