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![William Wilson (1905-1972)Etching titled ''The Harrow'', signed and dated 1936.[53x62cm]](https://cdn.globalauctionplatform.com/633605e1-dd5a-4364-8985-b20c00d6d27b/3fa082e0-f0ca-4910-8a44-b20e014c4ae7/468x382.jpg)
![Hedley Fitton [1859-1929]Etching titled ''The Apprentice Pillar. Roslyn Chapel'', signed.[65x50cm]](https://cdn.globalauctionplatform.com/633605e1-dd5a-4364-8985-b20c00d6d27b/2dbe6b10-b569-4845-8522-b20e014c45f4/468x382.jpg)
![James Hamilton Mackenzie (1875-1926)Etching titled ''San Gioyio, Verona'', signed[48x41cm]](https://cdn.globalauctionplatform.com/633605e1-dd5a-4364-8985-b20c00d6d27b/6aafd60a-a219-40ef-8008-b20e014cc126/468x382.jpg)
![David Young Cameron (1865-1945)Etching titled ''The Old Revenge'', signed and dated 1889.[48x60cm]](https://cdn.globalauctionplatform.com/633605e1-dd5a-4364-8985-b20c00d6d27b/c51a4857-899b-49dc-8363-b20e014c81a7/468x382.jpg)
Lot 8022
Nine of Diamonds. Susie Perring. Watercolour / gouache on watercolour paper. Signed to the front, unframed. Artwork size: 20.4cm x 15.8cm, overall size: 21.5cm x 20cm. Susie Perring attended the London College of Printing from 1963-1967. Thereafter she pursued a successful career as a graphic designer, working with well-known design groups. She is now a printmaker working in etching and aquatint. Susie has exhibited widely in the UK and abroad, with seven Royal Academy Summer Exhibitions and numerous commissions for P&O cruise liners: Queen Mary 2, Oriana, the Pride of Rotterdam and the Pride of Hull. Her work is in many galleries in the UK and abroad. It is in private corporate collections in the UK, including John Lewis; BP, Clifford Change and Citigroup. She has also taught art for Dulwich Picture Gallery's Education Department and at the London College of Communication. www.susieperring.com Please note that Ewbank's are charging no buyers premium for any lots sold in this auction.
Lot 163
Salvador Dalí (1904-1989)The Sacred Love of Gala, from After 50 Years of Surrealism (Field 74-8J; M&L 674)Etching with drypoint and pochoir in colours, 1974, signed in pencil, numbered from the deluxe edition F of 35 in roman numerals, printed by Atelier Rigal, Paris, published by Transworld Art, New York, with their blindstamp, on Japan paper, with full margins, sheet 670 x 515mm (26 3/8 x 20 1/4in)With the Dali Trade authentication inscription and signature in pencil verso (8/29/24)
Lot 3
Georg Baselitz (b.1938)Serpentine (Green)Etching with aquatint printed in green, 2022, signed and dated in pencil, numbered from the total edition of 100, published by Serpentine Limited Editions, London, with their certificate of authenticity, on Somerset wove paper, with full margins, sheet 515 x 390mm (20 1/4 x 15 3/8in)
Lot 170
Salvador Dalí (1904-1989) Gad, from The Twelve Tribes of Israel (Field 72-6G; M&L 624a) Etching with drypoint and pochoir in colours, 1972, signed in pencil, numbered from the edition of 195, printed by Ateliers Rigal, Paris, published by Trans World Art, New York, on Arches paper, with full margins, sheet 501 x 660mm (19 3/4 x 26in) With the Dali Trade authentication inscription and signature in pencil verso (dated 3/14/24)
Lot 165
Salvador Dalí (1904-1989)Freud with a Snail Head, from After 50 Years of Surrealism (Field 74-8G; M&L 672)Etching with drypoint and pochoir in colours, 1974, signed in pencil, numbered from the deluxe edition F of 35 in roman numerals, printed by Atelier Rigal, Paris, published by Transworld Art, New York, with their blindstamp, on Japan paper, with full margins, sheet 672 x 510mm (26 1/2 x 20 1/8in)With the Dali Trade authentication inscription and signature in pencil verso (8/29/24)
Lot 154
Salvador Dalí (1904-1989) La Table d'émeraude, from Alchimie des Philosophes (Field 75-12a; M&L 837a) Lithograph and screenprint in colours with drypoint and etching, 1975, signed in red felt tip ink, numbered from the edition of 225, printed by Viglino/Arts Litho/CAZA, published by Art et Valeur, Paris, on vellum, the full sheet printed to near the edges, sheet 775 x 577mm (30 1/2 x 22 3/4in)
Lot 68
Paula Rego (1935-2002)Secrets and Stories (Rosenthal 29)Etching with aquatint, 1989, signed in pencil, numbered from the edition of 50, printed by Studio Prints, published by the artist and Marlborough Graphics, London, on Arches paper, with full margins, sheet 565 x 765mm (22 1/4 x 30 1/8in)
Lot 117
Victor Pasmore (1908-1998)Vigna Antoniniana (Lynton G9)Etching with aquatint printed in colours, 1980, initialled and dated in pencil, numbered from the edition of 90, printed by Vigna Antoniniana Stamperia d'arte, Rome, with their blindstamp, co-published by 2RC Edizioni d’Arte, Rome, with their blindstamp, and Marlborough Fine Art Ltd., London, on Magnani wove paper, with full margins, sheet 1190 x 1845mm (46 3/4 x 72 5/8in)
Lot 226
Giovanni Antonio Canal, called Canaletto (1697-1768)Le Preson V, from 'Vedute altre prese da i luoghi altre ideate da Antonio Canal'Etching, circa 1735-1746, a good impression of Bromberg's second state (of three) before removal of title, on Venetian laid paper without watermark, sheet 146 x 211 mm (5 3/4 x 8 1/4 in), trimmed to or just within the platemark, minor toning and surface dirt (unframed)Literature:Bromberg 1974, 21 ii/iiiTogether with: Canaletto, La Libreria V, from 'Vedute altre prese da i luoghi altre ideate da Antonio Canal', etching, circa 1735-1746, a slightly grey impression of the second state (of three), before the title is removed, on cream laid paper without watermark, platemark 145 x 212 mm (5 3/4 x 8 3/8 in), sheet 160 x 225 mm (6 1/4 x 8 7/8 in) (unframed)
Lot 70
Paula Rego (1935-2002)Embarkation, from Six Artists: The Royal College of Art Portfolio 1992 (Rosenthal 76)Etching with aquatint, 1992, signed and inscribed 'A/P IX' in pencil, an artist's proof aside from the edition of 50, printed by the Printmaking Workshop of The Royal College of Art, published by the Royal College of Art, London, on Arches paper, with full margins, sheet 760 x 560mm (29 7/8 x 22 1/2in)
Lot 34
David Hockney (b.1937)The Sexton Disguised as a Ghost, from Illustrations for Six Fairy Tales from the Brothers Grimm (MCA Tokyo 86)Etching with aquatint, 1969, signed in pencil, numbered from the edition of 100, printed by The Print Shop, Amsterdam, published by Petersburg Press, London, on Hodgkinson watermarked paper, with full margins, sheet 452 x 405mm (17 7/8 x 16in)
Lot 169
Salvador Dalí (1904-1989)L'Atavisme, from Les Dîners de Gala (Field 77-5L; M&L 1333)Photolithograph printed in colours and etching, 1971, signed and inscribed 'AP' in pencil, numbered from the AP edition of 50, printed by Draeger, Paris, published by Lavigne, Bologna, on BFK Rives wove paper, with full margins, sheet 557 x 745mm (22 x 29 3/8in)With the Dali Trade authentication inscription and signature in pencil verso (9/18/24)
Lot 36
David Hockney (b.1937)The Blue Guitar, 1 (Tokyo MCA 178)Etching with aquatint printed in colours, 1976-77, signed in pencil, numbered from the edition of 200, printed by Dany Levy, published by Petersburg Press, London, on Inveresk wove paper, with full margins, sheet 530 x 460mm (20 7/8 x 18 1/8in)
Lot 167
Salvador Dalí (1904-1989)Les Entre-plats sodomisés, from Les Dîners de Gala (Field 77-5D; M&L 1343)Photolithograph printed in colours and etching, 1971, signed and inscribed 'AP' in pencil, numbered from the AP edition of 50, printed by Draeger, Paris, published by Lavigne, Bologna, on BFK Rives wove paper, with full margins, sheet 557 x 745mm (22 x 29 3/8in)With the Dali Trade authentication inscription and signature in pencil verso (9/18/24)
Lot 240
Rembrandt Harmensz. van Rijn (1606-1669)The Pancake WomanEtching, 1635, but a later impression of New Hollstein's sixth state (of seven), on laid paper without watermark, platemark 109 x 77 mm (4 1/4 x 3 in), sheet 119 x 89 mm (4 5/8 x 3 1/2 in), minor surface dirt (unframed)Literature:Bartsch 124; New Hollstein 144
Lot 82
Sean Scully (b.1945)Heart of DarknessEtching with aquatint printed in colours, 1992, signed and dated in pencil, inscribed 'BAT', a bon a tirer proof aside from the edition of 20, printed by Mohammad O.Khalil, published by The Limited Editions Club, New York, on wove paper, with full margins, sheet 468 x 555mm (18 3/8 x 21 7/8in)
Lot 139
Salvador Dalí (1904-1989) Study for the crucified Christ, from Manifests Mystique (Field 51-1B; M&L 61) Etching, 1951, signed and dated in pencil, numbered from the edition of 150, printed by G Leblanc, published by Robert J. Godet, Paris, on Rives wove paper, with full margins, sheet 380 x 278mm (15 x 10 7/8in)
Lot 224
Jost Amman (1539-1591)Plate H III, from Wenzel Jamnitzer's 'Perspectiva Corporum Regularium'Etching, 1568, a good impression on thin laid paper, sheet 179 x 253 mm (7 x 10 in), trimmed within the platemark to image, old central split in the lower section to printers crease, repaired with expert care, minor surface dirt and light browning (unframed)
Lot 164
Salvador Dalí (1904-1989)The Museum of Genius and Fancy, from After 50 Years of Surrealism (Field 74-L; M&L 676)Etching with drypoint and pochoir in colours, 1974, signed in pencil, numbered from the deluxe edition F of 35 in roman numerals, printed by Atelier Rigal, Paris, published by Transworld Art, New York, with their blindstamp, on Japan paper, with full margins, sheet 670 x 508mm (26 3/8 x 20in)With the Dali Trade authentication inscription and signature in pencil verso (8/29/24)
Lot 162
Salvador Dalí (1904-1989)A Shattering Entrance on the American Stage, from After 50 Years of Surrealism (Field 74-8H; M&L 673)Etching with drypoint and pochoir in colours, 1974, signed in pencil, numbered from the deluxe edition F of 35 in roman numerals, printed by Atelier Rigal, Paris, published by Transworld Art, New York, with their blindstamp, on Japan paper, with full margins, sheet 676 x 550mm (26 5/8 x 20 1/8in)With the Dali Trade authentication inscription and signature in pencil verso (8/29/24)
Lot 157
Salvador Dalí (1904-1989) Venus et le Joueur d'orgue, from Suite Mythologique Nouvelle (Field 71-8E; M&L 484c) Drypoint with etching and pochoir printed in colours, 1971, signed and inscribed 'EA' in pencil, aside from the edition of 50 in roman numerals, printed by Ateliers Rigal, published by Vision Nouvelle, on Richard de Bas Auvergne paper, with full margins, sheet 587 x 790mm (23 1/8 x 31 1/8in)
Lot 60
Cornelia Parker (b.1956)A Little Drop of GinPolymer photogravure etching, 2016, signed twice in pencil verso, numbered from the edition of 120 verso, published by The Foundling Museum, London, on Fabriano wove paper, the full sheet printed to the edges, sheet 350 x 350mm (13 3/4 x 13 3/4in)Provenance: Acquired by the present owner from The Foundling Museum, London, 2016.
Lot 235
Rembrandt Harmensz. van Rijn (1606-1669)The Angel appearing to the ShepherdsEtching, engraving and drypoint, 1634, but a later impression of New Hollstein's fifth or sixth state (of six), on laid paper without watermark, heavily reworked to wear in the plate, platemark 261 x 219 mm (10 1/4 x 8 1/2 in), sheet 278 x 235 mm (10 7/8 x 9 1/4 in), minor repairs to splits in the upper edge, faint signs of tape stains in the margins (unframed)Literature:Bartsch 44; New Hollstein 125 vi/vi
Lot 160
Salvador Dalí (1904-1989) The Laurels of Happiness, from After 50 Years of Surrealism (Field 74-8D; M&L 665) Etching with drypoint and pochoir in colours, 1974, signed in pencil, numbered from the deluxe edition F of 35 in roman numerals, printed by Atelier Rigal, Paris, published by Transworld Art, New York, with their blindstamp, on Japan paper, with full margins, sheet 509 x 675mm (20 x 26 3/4in) With the Dali Trade authentication inscription and signature in pencil verso (8/29/24)
Lot 168
Salvador Dalí (1904-1989)Les Suprêmes de malaises liliputiens, from Les Dîners de Gala (Field 77-5C; M&L 1344)Photolithograph printed in colours with embossing and etching, 1971, signed and inscribed 'AP' in pencil, numbered from the AP edition of 50, printed by Draeger, Paris, published by Lavigne, Bologna, on BFK Rives wove paper, with full margins, sheet 557 x 745mm (22 x 29 3/8in)With the Dali Trade authentication inscription and signature in pencil verso (9/18/24)
Lot 161
Salvador Dalí (1904-1989)Gala's Castle, from After 50 Years of Surrealism (Field 74-8K; M&L 675)Etching with drypoint and pochoir in colours, 1974, signed in pencil, numbered from the deluxe edition F of 35 in roman numerals, printed by Atelier Rigal, Paris, published by Transworld Art, New York, with their blindstamp, on Japan paper, with full margins, sheet 672 x 513mm (26 1/2 x 20 1/4in)With the Dali Trade authentication inscription and signature in pencil verso (8/29/24)
Lot 83
Sean Scully (b.1945)Doric GreyEtching with aquatint printed in colours, 2012, signed, dated and titled in pencil, numbered from the edition of 40, printed by Burnet Editions, New York, on wove paper, with full margins, sheet 203 x 280mm (8 x 11in), with the accompanying book 'Doric' and matching grey linen presentation box, overall 322 x 240mm (12 5/8 x 9 3/8in)
Lot 159
Salvador Dalí (1904-1989)Le Printemps, from Suite Mythologique Nouvelle (Field 71-8G; M&L 486a)Drypoint with etching and pochoir in colours, 1971, signed and inscribed 'EA' in pencil, aside from the edition of 150, printed by Ateliers Rigal, published by Vision Nouvelle, on BFK Rives wove paper, with full margins, sheet 755 x 565mm (29 3/4 x 22 1/4in)
Lot 2
Georg Baselitz (b.1938)Serpentine (Blue)Etching with aquatint printed in blue, 2022, signed and dated in pencil, numbered from the total edition of 100, published by Serpentine Limited Editions, London, with their certificate of authenticity, on Somerset wove paper, with full margins, sheet 515 x 390mm (20 1/4 x 15 3/8in)
Lot 166
Salvador Dalí (1904-1989) Les Caprices pinces princiers, from Les Dîners de Gala (Field 77-5A; M&L 1342) Photolithograph printed in colours and etching, 1971, signed and inscribed 'AP' in pencil, numbered from the AP edition of 50, printed by Draeger, Paris, published by Lavigne, Bologna, on BFK Rives wove paper, with full margins, sheet 557 x 745mm (22 x 29 3/8in) With the Dali Trade authentication inscription and signature in pencil verso (9/18/24)
Lot 158
BOB DYLAN (B. 1941) THE DRAWN BLANK SERIES, 2008: 'Two Sisters',signed by the artist, 53 from the numbered edition of 295, a sealed standard format giclee print on Hahnmuhle 350gsm Museum etching paper, printed by GTZ Fine Art Editions, published by Washington Green Fine Art in association with Black Buffalo Artworks, 56cm x 70cm (sheet), (unframed in sealed envelope) with a signed and numbered certificate of authenticity, Provenance: Purchased from Westover Gallery, 2008 Private Collection, Dorset
Lot 44
*JOHN PIPER (1903-1992) 'Alpilles', signed and numbered 51/70 in pencil to the margin, etching with aquatint, printed at the Kelpra Studio. published by Marlborough Fine Art in 1990, the image 40cm x 61cm, Framed dimensions: 65cm x 85cmExhibited: 'John Piper Retrospective', Bridport Arts Centre, Dorset, 6th December 1993-15th January 1994, number 44, Provenance: Purchased from the above exhibition, 14th January 1994 Deceased estate, Dorset, Literature: 'The Prints of John Piper, A Catalogue Raisonné, 1923-91', Levinson, Orde, publ. Lund Humphries, number 425.
Lot 13
*KATHARINE CAMERON (1874-1965) 'The Mountain Fern', signed in plate lower left, signed in pencil to the margin, etching, the image 42.5cm x 19cm, Framed dimensions: 62.5cm x 37.3cmNote: The younger sister of fellow artist David Young Cameron, Katharine Cameron RWS RE was a Scottish artist, watercolourist, and printmaker, best known for her paintings and etchings of flowers. She was associated with the group of artists known as the Glasgow Girls.
Lot 184
*STANLEY DONWOOD (b. 1968) 'A fucked etching that I started again', signed titled and inscribed 'St Barnabas Press, Cambridge, 2007' in pencil to the margin, etching, the image 56cm x 46.5cm, Framed dimensions: 91cm x 74cmNote: Stanley Donwood is an English artist and writer best known for his collaborations with the band Radiohead, for whom he has created all of their album covers since 1995. Donwood, born Dan Rickwood on October 29th 1968 in Essex, studied at the University of Exeter where he met Radiohead frontman Thom Yorke, beginning a creative partnership that has lasted over a quarter of a century. Yorke stated on meeting Donwood “When I met him, first day, he sat there with a book, totally aloof. I thought, I’m either really going to hate this bloke or I’m going to end up working with him forever. One of the two.”
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