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Click here to subscribePiranesi (Giovanni Battista, 1720-1778) Veduta della gran Piazza e Basilica di S. Pietro, from: Vedute di Roma, etching and engraving, first state (of 3) before numbers, an excellent impression, platemark 460 x 705 mm. (18 1/8 x 27 3/4 in), good margins, [1772].Provenance:Colnaghi, LondonLiterature:Hind 102
Goya (Francisco, 1746-1828) Ysele quema la Casa, pl. 18 from 'Los Caprichos', first edition, etching and aquatint, an excellent detailed impression, on cream laid paper, without watermark, platemark 215 x 153 mm. (8 1/2 x 6 in), sheet 315 x 220 mm. (12 3/8 x 8 5/8 in), full margins, minor surface dirt and spotting, 1799.Literature:Harris 53; Delteil, 55
Kolbe the Elder (Carl Wilhelm, 1759-1835) The cow in the swamp, etching, an excellent rich impression, with clear detail and depth to printing, on laid paper without watermark, platemark 302 x 415 mm. (11 7/8 x 16 1/4 in), sheet 340 x 452 mm. (13 1/2 x 17 3/4 in), small repaired tear to upper margin, not affecting image, several very small pin holes visible with raking light, [circa 1800-1803]. Literature:Martens 89 iv
Ireland.- Hincks (William) Irish Linen Industry, the set of 12, stipple engravings with etching, printed in brownish-black ink, with hand-colouring, on wove paper with watermark of 'Edmeads & Co. 1809', and 'Whatman 1808', each platemark approx. 335 x 415 mm. (13 1/4 x 16 1/4 in), the sheets 375 x 550 mm. (14 3/4 x 21 3/4 in), some handling creases, some sheets with tears, mainly in margins, published by Pollard, 1791 but ca. 1808-1810, (12).
Sir David Young Cameron RA, RSA, RWS (Scottish, 1865-1945), A rare original etching artist's proof impression (prior to Goulding's edition), titled "The Old Revenge" (large plate), 1889, 11¾ x 16in. (29.8 x 40.7cm.), information paperwork verso. * Provenance: Collection of R.W.H. Cardiff. This plate was etched for a booklet on the "Old Revenge", an industrial training ship first known as the HMS Revenge and then renamed "Empress." The three thousand, three hundred and eighteen ton Revenge was built in 1859 and measured two hundred and forty-five feet long.
Robert Colquhoun (Scottish, 1914-1962), Man with horse , monotype on wove, signed and dated '54 lower right, unframed , 13¾ x 10½in. (35 x 26.5cm.), together with two other monotypes of pigs by the same hand, signed, one dated '52, unframed; a signed etching by the same hand dated 1959; and three colour monotypes by the same hand, unsigned. (7)
A fine quality limited edition engraved and cut glass 1937 Coronation 'The Cup of Loyalty' goblet by Thomas Goode & Co. Ltd., London, commemorative for the 1937 Coronation of Edward VIII, with fine quality wheel etching decoration including extensive inscriptions in English and Gaelic, crowned Royal cypher, Archbishop figures, lion's head and lion rampant, the large cup bowl on a straight hollow stem with coin, square knop and basal panel cutting, on a stepped square foot, inscribed 'The Coronation "Cup of Loyalty". Only 28 were made and all were numbered. This is No.13. Herbert Goode, Thomas Goode & Co. Ltd. London. Copyright No.3355 May 7th 1937', 7¼in. (18.5cm.) high; together with a Thomas ebb etched and engraved 1937 Coronation goblet, with wrythen ovoid stem, 7¾in. (19.7cm.) high. (2)* Condition: In excellent condition, with no faults.
Norman Alfred Williams Lindsay (Australian, 1879-1969), 'Enter the Magicians', no. 184/550, a facsimile etching with blindstamp and certificate of authenticity, 35 x 39 cm Norman Lindsay, an artist, cartoonist, and writer, came from a family that produced five artists. Lindsay rejected Christianity, and his art depicts Bohemianism and Arcadian pantheism madly mixed in a fantasy world. CONDITION:Margins clean. No visible signs of foxing. Please note as in all facsimile etchings from this edition, the signature and title are printed. The edition number lower left is in pencil.
Antique Framed Print Of An Etching By W Boucher Pencil signed black and white print titled 'The Way' depicts a Georgian gentleman and finely dressed lady in a bonnet. Pencil signed to bottom left 'W Boucher' blindstamp to bottom right. Housed in ornate gilt and gesso period frame. 15 x 11.5 some staining/foxing to bottom left
John(B.G.) Studies from the Great Masters, 18 coloured plates by Dickes, original blue cloth, gilt, minor wear, Hamilton, [1862]--[Cundall(J.)]The illustrated poetical Gift Book, text in gilt, coloured plates by Evans, brown cloth, g.e., Ward, [1865]--Gray(T.) Elergy, text in red, illustrations in black, by the Etching club., cream polished boards, blocked in gilt and grey, bit scuffed and worn, Cundall, 1847; and others v.s. (10)
Gilpin(William) An extensive collection of his Books, Letters and Drawings. The former including; The Life of Bernard Gilpin, second edition, 1753; The Lives of John Wiclif, 1765; Observations on the River Wye, 1782; the same, second edition, 1789; the same, third edition, Ross, 1826; Observations...picturesque Beauty,...Cumberland and Westmoreland, 2 vol., 1786; Voyage en differentes Parties de l'Angleterre, 2 vol., 1789; Observations ...picturesque Beauty...particularly the High-Lands of Scotland, 2 vol., 1789, the same, third edition, 2 vol., 1808 Forest Scenery, 2 vol., 1791, the same, second edition, 2 vol., 1794; Six Landscapes, 1794; Three Dialogues, 1796; An Essay on Prints, fourth edition, 1792; Three essays on picturesque Beauty, second edition, 1794; the same third edition, 1808; Observations on the Western Parts of England, 1798; Observations on the Coasts of Hampshire, large paper, 1804; Memoirs of Josias Rogers, 1808; Observations on...the Counties of Cambridge, 1809; The last work(Gilpin's Day), 1810; the same, 1824; all generally in good state; The Six Landscapes and Gilpin's Day 1810 have tinted plates; those of the 1824 edition are coloured. There are also some 20 others, reprints, duplicates, books about Gilpin or his family, etc. etcLetters. The most important are 10 letters from Gilpin to Cadell and Davies, 1797-1803, many with draft replies. e.g. Gilpin's Western Tour [1798] “suppose 750...paper 29 Reams at 30/- £44. Boarding 750 at 9d £28-2-6...we will repay you the £70 paid to Mr. Alken for etching the plates, and we will give you £180 for the Copyright..” “An engraver of the name of Green who has lately executed some Scotch Views in Aqua tinta for us in a very neat Manner, hearing us express our Regret that the Plates of the Wye could not be found, offered to furnish us with fac-similes of them at what we concieve a very modest charge , two Guineas each Plate.” “I leave the business of a small edition of the Lakes etc wholly in your hands. I am far less solicitous abt. it, than abt my sermons..” There is much similar detail in the other letters of this correspondence, and there are a few other letters and fragments, including 2 from Lord Kenyon.Drawings:Sawrey Gilpin RA, British 1733-1807- Sketch of horses; brown ink over traces of pencil, signed, 16x22.4cm, (unframed): Sawrey Gilpin RA, British 1733-1807-Sketch of cattle in a field; pencil, signed and dated Sept 1794, 21.2x32.1cm: Attributed to Rev. William Gilpin, British 1724-1804- View of a castle; ink, watercolour & wash, monochrome, 15.3x24.7cm, (unframed): Attributed to Rev. William Gilpin, British 1724-1804- Figures walking along a country path; ink, watercolour & wash, monochrome, 15x25.2cm: Attributed to Rev. William Gilpin, British 1724-1804- View of a castle through trees; ink, watercolour, & wash monochrome,18.2x26.6cm, (unframed): Attributed to Rev. William Gilpin, British 1724-1804- View of a castle ruins; ink, watercolour & wash, monochrome, 9.9x16cm, (unframed): Rev. William Gilpin. British 1724-1804- Three sketches of the same castle view on a hillside; pencil, ink and wash, collectors stamp W. Parker on corresponding paper, 18x26cm (max), (3) (unframed) Provenance: Christies auction 11 Nov. 1969, Lot 72. Sold by Major FCF Parker, Newbiggin Hall, Temple Westmorland. Bought by Charles Gilbert Benson. Originally in the collection of William Parker, of Skirwith Abbey: Attributed to Rev. William Gilpin, British 1724-1804- Castle on a hillside; ink, watercolour & wash, monochrome,9.4x15.5cm, (10) (unframed)
δ André Masson (1896-1987)Little Genius of Wheat (Petit génie du blé) Etching with drypoint, 1942, signed and numbered from the edition of 20 in pencil, on wove paper, with margins, sheet 479 x 355mm (18 7/8 x 14in) (unframed)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
δ Hermann Max Pechstein (1881-1955)Am Ufer (Kruger 116)Etching with drypoint, 1920, signed in pencil, the edition was 100, on wove paper, with full margins, sheet 200 x 260mm (8 x 10 ¼ in) (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)Le Viol (Baer 209; Bloch 142)Etching, 1931, a rare, richly inked trial proof printed before steel facing, Baer cites only 3-4 impressions in this state, on wove paper, with full margins, 222 x 310mm (8 ¾ x 12 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 Pablo Picasso (1881-1973)Tete d'homme (Baer 88; Bloch 55)Etching, 1922/23, a rare trial proof before steel-facing, signed in pencil, on laid paper, with margins, plate 119 x 79mm (4 1/4 x 3 1/8in) (unframed)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
δ David Hockney (b.1937)What is This Picasso? (from The Blue Guitar) (M.C.A. Tokyo 197)Etching with aquatint printed in colours, 1976-77, signed and numbered from the edition of 200 in pencil, on Inveresk mould-made wove paper, published by Petersburg Press, New York, with full margins, sheet 525 x 456mm (20 5/8 x 18in) (unframed)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
δ David Hockney (b.1937)Franco-American Mail (from The Blue Guitar) (M.C.A. Tokyo 182)Etching with aquatint printed in colours, 1976-77, signed and numbered from the edition of 200 in pencil, on Inveresk mould-made wove paper, published by Petersburg Press, New York, with full margins, sheet 456 x 525mm (18 x 20 5/8in) (unframed)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
δ David Hockney (b.1937)I Say They Are (from The Blue Guitar) (M.C.A. Tokyo 193)Etching with aquatint printed in colours, 1976-77, signed and numbered from the edition of 200 in pencil, on Inveresk mould-made wove paper, published by Petersburg Press, New York, with full margins, sheet 456 x 525mm (18 x 20 5/8in) (unframed)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
δ David Hockney (b.1937)On it May Stay His Eye (from The Blue Guitar) (M.C.A. Tokyo 194)Etching with aquatint printed in colours, 1976-77, signed and numbered from the edition of 200 in pencil, on Inveresk mould-made wove paper, published by Petersburg Press, New York, with full margins, sheet 456 x 525mm (20 5/8 x 18in) (unframed)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
δ Frank Auerbach (b.1931)Bill Etching printed with tone, 2009, signed, titled and numbered from the edition of 100 in pencil, on Somerset Velvet, printed by Marc Balakjian at Studio Prints, London, loose as issued, with full margins, 180 x 150mm (PL), together with a copy of the book, Frank Auerbach by William Feaver, published by Rizzolo, New York, within the black cloth covered portfolio case, the title printed in silver on the uppers, overall 325 x 270mm (12 3/4 x 10 5/8in)(folio)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
δ Henry Moore (1898-1986)Two Reclining Figures Linear (Cramer 107)Etching, 1969, signed, dated and numbered from the edition of 100 in pencil, on Arches wove paper, printed by Frelaut and Lacouriere, Paris, published by Marlborough Graphics, London, with full margins, sheet 660 x 505mm (26 x 20in) (unframed)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
δ Marcel Duchamp (1887-1968)Pulled at Four Pins (Schwarz 609)Etching, 1964, signed and numbered from the edition of 100 in pencil, on Magnani wove paper, published by Galeria Schwarz, Milan, with full margins, sheet 315 x 225mm (12 1/2 x 8 7/8in) (unframed)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
** δ Henry Moore (1896-1986)Mother and Child (Cramer 705)Etching printed in sepia, 1983, signed, titled, numbered and inscribed 'AP' in pencil, one of fifteen numbered artist's proofs aside from the edition of 75, on Arches wove paper, printed by James Collyer and James Crossley, London, published by Raymond Spencer Company Ltd, for the Henry Moore Foundation, Much Hadham, with the printer's blindstamp, with full margins, sheet 379 x 323mm (15 x 12 3/4in) (unframed)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.** This lot has been imported from outside the EU to be sold at auction under temporary importation, and therefore the buyer must pay the import VAT at a rate of 5%. On proof of export outside the European Union, this duty can be refunded.
** δ Henry Moore (1896-1986)Mother and Child (Cramer 707)Etching printed in sepia, 1983, signed, titled, numbered and inscribed 'AP' in pencil, one of fifteen numbered artist's proofs aside from the edition of 75, on Arches wove paper, printed by James Collyer and James Crossley, London, published by Raymond Spencer Company Ltd, for the Henry Moore Foundation, Much Hadham, with the printer's blindstamp, with full margins, sheet 379 x 323mm (15 x 12 3/4in) (unframed)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.** This lot has been imported from outside the EU to be sold at auction under temporary importation, and therefore the buyer must pay the import VAT at a rate of 5%. On proof of export outside the European Union, this duty can be refunded.
* δ Howard Hodgkin (1932-2017)Red Listening Ear (Heenk 74)Etching with aquatint and carborundum in colours with extensive handcolouring, 1986, initialled, dated and numbered from the edition of 100 in pencil, on TH Saunders wove paper, published by Bernard Jacobson Gallery, London, the full sheet printed to the edges, sheet 475 x 644mm (19 x 25in) (unframed)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.* This lot is subject to VAT and the buyer must pay VAT on both the hammer and the buyer's premium at a rate of 20%
** δ Henry Moore (1896-1986)Mother and Child (Cramer 704)Etching printed in sepia, 1983, signed, titled, numbered and inscribed 'AP' in pencil, one of fifteen numbered artist's proofs aside from the edition of 75, on Arches wove paper, printed by James Collyer and James Crossley, London, published by Raymond Spencer Company Ltd, for the Henry Moore Foundation, Much Hadham, with the printer's blindstamp, with full margins, sheet 379 x 323mm (15 x 12 3/4in) (unframed)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.** This lot has been imported from outside the EU to be sold at auction under temporary importation, and therefore the buyer must pay the import VAT at a rate of 5%. On proof of export outside the European Union, this duty can be refunded.
Roberto Sebastián Matta (1911-2002)Untitled (Ferrari 245)Etching with aquatint printed in colours, 1978, signed in pencil, numbered from the edition of 45 in Roman numerals, there was also an edition of 100 in Arabic, on Arches wove paper, as included in the portfolio Requiem pour la fin des temps, printed and published by Editions Georges Visat, Paris, with his blindstamp, with full margins 302 x 225mm (11 7/8 x 8 7/8in) (unframed)
** δ Henry Moore (1896-1986)Mother and Child (Cramer 708)Etching printed in sepia, 1983, signed, titled, numbered and inscribed 'AP' in pencil, one of fifteen numbered artist's proofs aside from the edition of 75, on Arches wove paper, printed by James Collyer and James Crossley, London, published by Raymond Spencer Company Ltd, for the Henry Moore Foundation, Much Hadham, with the printer's blindstamp, with full margins, sheet 379 x 323mm (15 x 12 3/4in) (unframed)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.** This lot has been imported from outside the EU to be sold at auction under temporary importation, and therefore the buyer must pay the import VAT at a rate of 5%. On proof of export outside the European Union, this duty can be refunded.
Roberto Sebastián Matta (1911-2002)Untitled (Ferrari 244)Etching with aquatint printed in colours, 1978, signed in pencil, numbered from the edition of 45 in Roman numerals, there was also an edition of 100 in Arabic, on Arches wove paper, as included in the portfolio Requiem pour la fin des temps, printed and published by Editions Georges Visat, Paris, with his blindstamp, with full margins 302 x 225mm (11 7/8 x 8 7/8in) (unframed)
** δ Henry Moore (1896-1986)Mother and Child (Cramer 701)Etching printed in sepia, 1983, signed, titled, numbered and inscribed 'AP' in pencil, one of fifteen numbered artist's proofs aside from the edition of 75, on Arches wove paper, printed by James Collyer and James Crossley, London, published by Raymond Spencer Company Ltd, for the Henry Moore Foundation, Much Hadham, with the printer's blindstamp, with full margins, sheet 379 x 323mm (15 x 12 3/4in) (unframed)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.** This lot has been imported from outside the EU to be sold at auction under temporary importation, and therefore the buyer must pay the import VAT at a rate of 5%. On proof of export outside the European Union, this duty can be refunded.
δ Henry Moore (1898-1986)Two Reclining Figures (Cramer 467)Etching with aquatint, 1977/78, signed in pencil, numbered from the edition of 45 in Roman numerals, there was also an edition of 100 in Arabic, on Arches wove paper, as included in the portfolio Requiem pour la fin des temps, printed by Atelier Lacouriere et Frelaut, published by Editions Georges Visat, Paris, with his blindstamp, with full margins 302 x 225mm (11 7/8 x 8 7/8in) (unframed)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
δ Henry Moore (1898-1986)Two Reclining Figures (Cramer 466)Etching with aquatint, 1977/78, signed in pencil, numbered from the edition of 45 in Roman numerals, there was also an edition of 100 in Arabic, on Arches wove paper, as included in the portfolio Requiem pour la fin des temps, printed by Atelier Lacouriere et Frelaut, published by Editions Georges Visat, Paris, with his blindstamp, with full margins, sheet 302 x 225mm (11 7/8 x 8 7/8in) (unframed)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
δ Victor Pasmore (1908-1988)Senza Titolo 10 (Lynton G.62)Etching with aquatint printed in colours, 1989, signed, dated and numbered from the edition of 90 in pencil, printed by Vigna Antoniniana Stamperia d'arte, Rome, published by Marlborough Graphics, London, sheet 920 x 2580mm (36 1/4 x 101 1/2in) (framed)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
δ Victor Pasmore (1908-1988)Senza Titolo 4 (Lynton G.57)Etching with aquatint printed in colours, 1989, signed, dated and numbered 64/90 in pencil, on wove paper, published by Marlborough Graphics Ltd, London, and 2RC Edizioni d'arte, Rome, with their blindstamp, with full margins, plate 500 x 995mm (19 1/2 x 37 3/8in) (unframed)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
δ Barbara Rae (b.1943)Anasazi HunterEtching, 2000, signed, titled and numbered from the edition of 100 in pencil, on wove paper, with full margins, sheet 510 x 650mm (20 x 25 5/8in) (framed)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
δ Salvador Dali (1904-1989)Pegasus (from Quinze Gravures) (M&L 291b; Field 68-4-A)Etching printed in colours, 1968, signed and numbered from the edition of 75 in pencil, on Japan Nacré, printed by Ateliers Rigal, published by Werbungs- und Commerz Union Anstalt, with full margins, sheet 440 x 316mm (17 1/4 x 12 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 Salvador Dali (1904-1989)Narcisse (from Quinze Gravures) (M&L 284b; Field 68-4-B)Etching printed in colours, 1968, signed and numbered from the edition of 75 in pencil, on Japan Nacré, printed by Ateliers Rigal, published by Werbungs- und Commerz Union Anstalt, with full margins, sheet 440 x 316mm (17 1/4 x 12 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 Salvador Dali (1904-1989)Le Testament de Tristan (from Tristan et Iseult) (M&L 426b; Field 70-10-U)Etching printed in colours, 1970, signed and numbered from the signed German edition of 25 with the orange tree blindstamp, on BFK Rives wove paper, printed by Ateliers Rigal, published by Pamela Verlag, with full margins, sheet 450 x 330mm (17 3/4 x 13in) (unframed)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
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