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Click here to subscribeRembrandt van Rijn (1606-1669)The BathersEtching, 1651, a later impression of New Hollstein's third state (of three), on laid paper without watermark, sheet 112 x 138 mm (4 3/8 x 5 3/8 in), sheet loss to right edge restored, associated cockling and surface dirt, some creasing, other marginal nicks (unframed)Literature:Bartsch 195; New Hollstein 258 iii/iii
Stefano della Bella (1610-1664)The Medici VaseEtching and engraving, circa 1656, an excellent clean impression of the the second state (of 2), on laid paper with watermark of 'IHS', 314 x 277 mm (12 3/8 x 10 7/8 in), lower edge trimmed to or just within the platemark, otherwise small margins, unframed.Provenance:Colnaghi, London [their blue mount, pencil stock no. 34651]Literature:De Vesme 832 ii⁂ "Generally considered the earliest and most beautiful of the numerous renditions of the famed Medici Vase."The young Cosimo III de' Medici, Stefano della Bella's pupil and the future Grand Duke of Tuscany, is shown drawing the Medici Vase; the monumental vase- executed in white marble and created in Athens in the first century A.D.- features a frieze of Iphigenia crouching beneath a statue of Diana flanked by warriors. One of many highly celebrated ancient artworks collected by the Medici family in the 16th century, and kept at their Roman villa.
Wenceslaus Hollar (1607-1677)Dark Fur Double-Muff with black Half-MaskEtching, circa 1642, a delicate well inked impression of this scarce small print, on laid paper without watermark, sheet 58 x 89 mm (2 1/4 x 3 1/2 in), trimmed to or just within the platemark, minor surface dirt and light spotting (unframed)Provenance:Christopher Mendez, LondonLiterature:Pennington 1949; New Hollstein 384Richard Godfrey, Wenceslaus Hollar: A Bohemian Artist in England, New Haven & London, 1994, no. 92E (another impression illustrated)
** δ Pablo Picasso (1881-1973)Le Repos du Sculpteur IV, from La Suite Vollard (Bloch 174, Baer 327)Etching, 1933, signed in pencil, from the unnumbered edition of 250, published by Ambroise Vollard, Paris, on Montval laid paper, with the Vollard watermark, with full margins, sheet 338 x 444mm (13 1/4 x 17 1/2in)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 United Kingdom 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 United Kingdom, this duty can be refunded.
Giovanni Battista Piranesi (1720-1788)Veduta dell'Anfiteatro Flavio, detto il Colosseo, from 'Vedute di Roma'Etching, 1757, an excellent well inked impression of Hind's second state (of four), on laid paper without visible watermark, platemark 440 x 700 mm (17 1/4 x 27 1/2 in), sheet 515 x 740 mm (20 1/4 x 29 1/8 in), faint exposure lines to margin, some minor surface dirt, faint horizontal drying crease (unframed)Provenance:Colnaghi, London [their blue mount, stock no. C.33434 in pencil to margin]Literature:Hind 57 ii (of iv)
Rembrandt van Rijn (1606-1669)Self-Portrait in a Cap and Scarf with the Face darkEtching, 1633, a good well inked albeit later impression of New Hollstein's fourth state (of five), printing with plate tone, platemark 132 x 103 mm (5 1/4 x 4 1/8 in), sheet 142 x 106 mm (5 3/4 x 4 5/8 in) (unframed)Literature:Bartsch 17; New Hollstein 120 iv/v
Rembrandt van Rijn (1606-1669)Self-Portrait in a Flat Cap and Embroidered DressEtching, circa 1642, a good but later impression of New Hollstein's final state (of three), on fine laid paper without watermark, sheet 86 x 62 mm (3 3/8 x 2 1/2 in), trimmed within the platemark to upper and lower edges, light toning and surface dirt, mainly to corners (unframed)Literature:Bartsch 26; New Hollstein 210 iii/iii
δ Georg Baselitz (b.1938)Spielt die Musik (Black)Etching, 2022, signed and dated in pencil, numbered from the edition of 100, the edition comprised 50 impressions in black ink and 50 in red ink, published by the Kunst Historisches Museum Wien, Vienna, for the exhibition 'Baselitz: Naked Masters', 7th March-25th June 2023, on Somerset wove paper, the full sheet, sheet 516 x 392mm (20 1/4 x 15 3/8in)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Giovanni Battista Piranesi (1720-1788)The Sawhorse, plate XII, from: Carceri d'InvenzioneEtching, engraving and sulphur tint, circa 1749-1750, a good impression of Hind's second state (of three) on Italian hand-made laid paper with indistinct watermark, platemark 415 x 555 mm (16 1/4 x 21 5/8 in), sheet 565 x 785 mm (22 1/4 x 30 3/4 in), full sheet with deckle, scattered spotting and minor surface dirt (unframed)Literature:Focillon 35; Hind 12; Robison 38
Rembrandt van Rijn (1606-1669)Old Man with Flowing Beard: BustEtching, 1631, a fine delicate impression of New Hollstein's second state (of two), printing with contrast and depth, on laid paper without watermark, sheet 70 x 68 mm (2 3/4 x 2 5/8 in), small margins, inconspicuous brown spots (unframed)Literature:Bartsch 315; New Hollstein 83 ii/ii
δ Joan Miró (1893-1983)Liberté des Libertés (Cramer 150; Dupin 541)Etching with aquatint printed in colours embellished with blue crayon, 1971, signed in white pencil, numbered from the edition of 125, printed and published by Maeght, Paris, on BFK Rives paper, the full sheet printed to the edges, sheet 384 x 285mm (15 1/8 x 11 1/4in)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
δ Marc Chagall (1887-1985)Cat and Two Sparrows (Cramer 22)Etching, 1952, signed in pencil and numbered from the edition of 100, printed Maurice Potin, published by Tériade Éditeur, Paris, on Montval laid paper, sheet 420 x 335mm (16 1/2 x 13 1/4in)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
δ Tracey Emin (b.1963)You Forgot Who You AreEtching, 2013, signed, titled and dated in pencil, numbered from the edition of 200, on Somerset wove paper, the full sheet, sheet 366 x 404mm (14 3/8 x 15 7/8in)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Giovanni Battista Piranesi (1720-1788)Veduta del Sepolcro di Cajo Cestio, from 'Vedute di Roma'Etching, 1756, an excellent well inked impression of Hind's first state (of three), on laid paper with watermark of lily within single circle [Hind's no. 1], platemark 395 x 540 mm (15 1/2 x 21 1/4 in), sheet 520 x 730 mm (20 1/2 x 28 3/4 in), faint exposure lines to margin, some minor surface dirt, faint horizontal drying crease (unframed)Provenance:Colnaghi, London [their blue mount, stock no. C.33434 in pencil to margin]Literature:Hind 36 i (of iii)
Rembrandt van Rijn (1606-1669)The Artist's Mother Seated at a Table, Looking Right: Three Quarter LengthEtching with touches of drypoint, circa 1631, an excellent impression of New Hollstein's second state (of three) with drypoint burr printing to the nose, before any later rework, on laid paper with indistinct countermark with initials, platemark 148 x 131 mm (5 3/4 x 5 1/4 in), sheet 162 x 136 mm (6 3/4 x 5 3/8 in), minor spotting, marginal crease and small repair to the upper right corner (unframed)Literature:Bartsch 343; New Hollstein 91 ii/iiiProvenance:Claude-Augustin Mariette, Paris [Lugt 1786]D.G. de Arozarena, South America, Paris and Cuba [Lugt 109]
δ Joan Miró (1893-1983)From Picasso i Els Reventos (Dupin 588; Cramer bk.176)Etching and aquatint printed in colours with embossing, 1973, signed in pencil, numbered from the edition of 182, printed and published by Gustavo Gili, Barcelona, on Guarro paper, with wide margins, sheet 425 x 590mm (16 x 23 1/4in)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
δ Anthony Gross (1905-1984)Fishing on a Pier (Herdman 4801)Etching, 1948, signed, titled and inscribed 'artist's proof' in pencil, aside from the edition of 45, published by Jeune Gravure Contemporaine, Paris, on wove paper, with full margins, sheet 233 x 360mm (9 1/4 x 14 1/4in)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: Second PlateEtching and engraving, 1633, but a later impression of New Hollstein's sixth state (of eight) on cream wove paper without watermark, showing signs of wear in the plate but still showing remnants of the coarsely burnished address of Justus Danckerts, platemark 530 x 407 mm (20 3/4 x 16 in), sheet 575 x 425 mm (22 5/8 x 16 3/4 in), good margins, small marginal nicks repaired (unframed)Literature:New Hollstein 119 vi/viii
** Marc Chagall (1887-1985) after.L'Horloge (Maeght 1202)Etching with aquatint printed in colours, circa 1950, signed in pencil, numbered from the edition of 300, printed by G. Visat, published by Maeght, Paris, on wove paper, with wide margins, sheet 397 x 310mm (15 5/8 x 12 1/4in)** This lot has been imported from outside the United Kingdom 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 United Kingdom, this duty can be refunded.
δ Salvador Dalí (1904-1989)Intra-Uterine Paradesiac Locomotion, from Imaginations and Objects of the Future (Field 75-11D; M&L 825d)Etching with lithography, screenprinting and collage, 1975/6, signed in pencil, numbered from the edition of 75 in roman numerals, printed by Ateliers Rigal, Paris, published by Merrill Chase, Chicago, on Japan paper, with full margins, sheet 771 x 557mm (30 3/8 x 21 7/8in)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)Cottage and Boundary Post on the Spaarndammerdijk ('The Landscape with the Obelisk')Etching and drypoint, circa 1650, a good impression of New Hollstein's second state of two, printing with subtle sulphur tinting in the sky and remnants of drypoint burr in the lower right corner, sheet 85 x 162 mm (3 1/4 x 6 3/8 in), trimmed to or just within the platemark, small loss restored in the lower left corner, small repair to nick in centre right and small perforated spot in the upper right quadrant, some toning (framed)Literature:Bartsch 227; New Hollstein 249Provenance:Karl Ferdinand Friedrich von Nagler (1770-1846) [Lugt 2529]Kupferstichkabinett der Staatlichen Museen [Lugt 1606 & 2398]J. G. Guildal (1855-1920) [Lugt 1110a]; his auction The Guildal Collection, Winkel & Magnussen, 1931, cat. no. 250
Rembrandt van Rijn (1606-1669)Jan Uytenbogaert, 'The Gold Weigher'Etching and drypoint, 1639, a good impression of New Hollstein's third state (of three), printing with some wear in the densely hatched areas, on laid paper with watermark of the letters 'IV', platemark 254 x 202 mm (10 x 8 in), sheet 258 x 222 mm (10 1/8 x 8 3/4 in), good margins, minor toning (unframed)Literature:Bartsch 281; New Hollstein 172 iii/iii
Rembrandt van Rijn (1606-1669)Abraham casting out Hagar and IshmaelEtching with touches of drypoint, 1637, a good but slightly later faint impression of the only state, on laid paper with partial watermark [probably Foolscap, cf. Hinterding ZZ.zz 4], sheet 127 x 95 mm (5 x 3 3/4 in), small margins, some abrasion and brown marks within the image, minor surface dirt (unframed)Literature:Bartsch 30; New Hollstein 166 i/i
δ Salvador Dalí (1904-1989)From Les Amours Jaunes (Field 74-15J; Michler & Löpsinger 693)Etching with gold ink, 1974, signed in pencil, a proof aside from the edition of 300, on Arches paper, with wide margins, sheet 377 x 280mm (14 7/8 x 11in)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
δ Anthony Gross (1905-1984)Chez les Druses (Arab Horse Bath) (Herdman 5404)Etching, 1954, signed and titled in pencil, numbered from the edition of 50, on wove paper, with full margins, sheet 332 x 505mm (13 x 19 7/8in)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)Bust of an old bearded man, looking down, directed three-quarter to the rightEtching, 1631, a good impression from the reduced plate, New Hollstein's third state (of three), on laid paper without watermark, sheet 118 x 107 mm (4 5/8 x 4 1/8 in), thread margins but lower edge towards right corner slightly trimmed within the platemark, minor surface dirt, tipped at upper corners onto paper support, minor surface abrasion to lower right corner (unframed)Provenance:Unidentified Rembrandt collector [Lugt 4636]Literature:Bartsch 260; New Hollstein 84 iii/iii
Rembrandt van Rijn (1606-1669)The Raising of Lazarus: the small plateEtching with touches of drypoint, 1642, a very good clear impression of New Hollstein's first state (of two) before any rework, on laid paper with watermark of Foolscap with seven-pointed collar [cf. Hinterding K.a.2], platemark 150 x 114 mm (5 7/8 x 4 1/2 in), sheet 160 x 121 mm (6 1/4 x 4 3/4 in), minor spotting surface dirt, light toning to sheet (unframed)Literature:Bartsch 72; Hind New Hollstein 206 i/ii
δ Anthony Gross (1905-1984)Heath Scene (Herdman 5101)Etching, 1951, signed and titled in pencil, numbered from the edition of 50, on wove paper, with full margins, sheet 280 x 378mm (11 1/8 x 14 7/8in)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 impression of New Hollstein's seventh/eighth state (of nine), on laid paper with indistinct countermark initials, sheet 367 x 255 mm (14 1/2 x 10 1/4 in), trimmed within the platemark to arched border, faint central horizontal fold, minor surface dirt, printers' crease to upper left (unframed)Literature:Bartsch 73; New Hollstein 113 vii-viii/ixTogether with a quantity of copies after Old Master prints, including Rembrandt and Albrecht Dürer.
Rembrandt van Rijn (1606-1669)The Adoration of the Shepherds: With the lampEtching, 1654, a good impression of New Hollstein's final state (of three), on thin laid paper without watermark, platemark 106 x 130 mm (4 1/4 x 5 1/8 in), sheet 117 x 138 mm (4 5/8 x 5 3/8 in), some small spots (unframed)Literature:Bartsch 45; New Hollstein 279 iii/iii
After Rembrandt van Rijn (Dutch 1606-1669) Two figures at a table Signed and dated 1636 in the plate, inscribed in pencil "hand printed by Rae Boer" in the margin, etching.13 x 12cm (framed 47 x 34.5cm)The print is in very good, original condition with no obvious faults to report. The print is framed and glazed. The frame has some minor scuffs and knocks commensurate with age.
FEYENOORD ROTTERDAM, JERSEY CIRCA 1970 Bukta FORUM label, stitched number 3 verso, short sleevedNote: Believed swapped with Rinus Israel. Originally thought to be a match worn shirt from the 1970 European Cup final victory over Celtic, the Bukta label suggests this is a 1969/70 season shirt (Le Coq Sportif worn in the 1970 cup final). The shirt was swapped with Bertie Auld and it is therefore possible the player retained his Le Coq shirt, and gave Auld a season shirt. Swapped with Bertie Auld; The Bertie Auld Collection.The 1970 European Cup final will forever be remembered as the night when Dutch football made history. On 6th May 1970, at the iconic San Siro stadium in Milan, Feyenoord, led by their rock-solid defender Rinus Israel, defeated Celtic 2–1 after extra time, securing their first and only European Cup triumph.Marinus "Rinus" David Israël, born on 19th March 1942, was a Dutch football legend. Nicknamed "Iron Rinus," he was known for his unwavering tenacity and solid defensive skills. During his career, Israel played for several clubs, including DWS, Excelsior Rotterdam, PEC Zwolle and, of course, Feyonoord.It was at Feyenoord that Israel achieved his greatest success, forming an unyielding defensive partnership with Theo Laseroms. During his time with the club, Feyenoord won three Eredivisie titles, a KNVB Cup, a UEFA Cup, and the prestigious European Cup.Israel's achievements extended to the international stage, where he was a prominent player for the Netherlands national team, representing his country in 47 matches and scoring three goals from 1964 to 1974. He played a vital role in the 1974 FIFA World Cup, helping the Netherlands secure victories against Brazil and Argentina.The 1970 European Cup final was a momentous occasion for both Feyenoord and Celtic. For Celtic, it was their second appearance in the European Cup final, following the triumphant Lisbon Lions victory against Inter in 1967. They entered the match as strong favourites, but Feyenoord had different plans.Tommy Gemmell gave Celtic the lead after 30 minutes, but that wouldn’t last long. Rinus Israel's unmarked header drew Feyenoord level, with Celtic’s defensive lapse and Israel’s clinical finish changing the momentum of the game. The goal was Feyenoord's first in the campaign outside their home stadium.The Dutch team, managed by Ernst Happel, tactically outplayed Celtic, double-marking Jimmy Johnstone, the Celtic winger, throughout the game. The midfield trio of Franz Hasil, Willem van Hanegem, and Wim Jansen dominated their Celtic counterparts, making it a challenging night for the Scottish club.Despite a hard-fought match, the score remained 1–1 at the end of regulation time, forcing the game into extra time. With just a few minutes remaining, Feyenoord seized their moment. A long free-kick from the Feyenoord half was launched towards the Celtic penalty area. Billy McNeill, Celtic's captain and defender, stumbled in the box, allowing Ove Kindvall of Feyenoord to run onto the loose ball and chip it over the advancing goalkeeper Evan Williams. The ball gracefully sailed into the net, sealing Feyenoord's 2–1 victory and making them the first Dutch club to win the European Cup.Rinus Israel's contribution to the match cannot be understated. As a central figure in Feyenoord's defence, he played a crucial role in containing Celtic's attacking threats and scored the all-important equalizer. His leadership and defensive prowess ensured that Feyenoord lifted the European Cup that night, etching his name in footballing history.
SALMON (William) Polygraphice; or The Arts of Drawing, Engraving, Etching, Limning, Painting, Washing, Varnishing, Gilding, Colouring, Dying, Beautifying and Perfuming, Second Edition, with many large additions, London 1673, 8vo, engraved title for R. Jones, 15 full page engravings (one with a little added grey wash above the figure), 352pp, bound without prelim dedication and preface, and 8pp. index at end but main text complete, later calf, a little rubbed
Sporting illustration including angling BEAZLEY (David) Images of Angling, no. 38/50 de luxe copies, signed, Creel Press 2010, 4to, full blue morocco, slip case; LYNE (Michael) Horses Hounds and Country, 1938, 4to, no.13/25 special signed copies with a pencil remarque, quarter vellum; DERRICK (John) The Fox's Prophesy, no.26/150 deluxe copies, signed; SHAW SPARROW (W) Angling in British Art, 1923, 4to, no.10/125 copies, signed, with an original etching by Norman Wilkinson, uncut, cloth gilt; and others, mainly modern works (22)
Giovanni Battista Piranesi (1720-1778) Dimostrazioni dell' Emissario del Lago Albano. Etching. Plate XI, Numbered Tav. XI along upper right edge, signed lower-right in the cartouche 'Piranesi F.'Traces of central fold.Plate size 41x56cmBlack frame, gilt slipFrom Jennifer Sherwood, Ladbroke Sq.These are in excellent restored condition. Joanna Payne has conserved these prints, any watermarks were not recorded, however, we believe them to be 18th century
Giovanni Battista Piranesi (1720-1778) Veduta del Tempio ottangolare di Minerva MedicaEtching. Signed lower-left in the plate 'Piranesi F.'Traces of central fold.Plate size 46.5x70cmBlack frame, gilt slipFrom Jennifer Sherwood, Ladbroke Sq.Joanna Payne has conserved these prints, any watermarks were not recorded, however, we believe them to be 18th century
Giovanni Battista PIRANESI(1720-1778) Avanzi del Tempio detto di Apollo nella Villa Adriana vicino a Tivoli Etching. Signed lower-left in the plate 'Cavalier Piranesi inc.' Traces of central fold. Plate size 47.5x62.5cm Black frame, gilt slip From Jennifer Sherwood, Ladbroke Sq. Joanna Payne has conserved these prints, any watermarks were not recorded, however, we believe them to be 18th century
Giovanni Battista Piranesi (1720-1778) Veduta degli avanzi del tablino della Casa aurea di Nerone detti volgarmente il Tempio della Pace Etching. Signed lower-left in the plate 'Cavalier Piranesi F.' Traces of central fold. Plate size 48x70cm Black frame, gilt slip From Jennifer Sherwood, Ladbroke Sq. Joanna Payne has conserved these prints, any watermarks were not recorded, however, we believe them to be 18th century
Giovanni Battista Piranesi (1720-1778) Dimostrazioni dell' Emissario del Lago Albano. Etching. Plate V, Numbered Tav. V along upper edge, Signed in the plate lower left 'Piranesi F.'Traces of central fold.Plate size 45x64cmBlack frame, gilt slipFrom Jennifer Sherwood, Ladbroke Sq.These are in excellent restored condition. Joanna Payne has conserved these prints, any watermarks were not recorded, however, we believe them to be 18th century
Giovanni Battista PIRANESI(1720-1778) Veduta del tempio della Sibilla in Tivoli Etching. Signed lower-right in the plate 'Piranesi Fec.' Traces of central fold. Plate size 41.5x62cm Black frame, gilt slip From Jennifer Sherwood, Ladbroke Sq. Joanna Payne has conserved these prints, any watermarks were not recorded, however, we believe them to be 18th century
ERNEST STEPHEN LUMSDEN RSA RE (BRITISH 1883 - 1948), INDIAN MARKET oil on board, signed and dated 1914 mounted, framed and under glass image size 25cm x 35cm, overall size 46cm x 55cm Note: Lumsden studied at Reading Art School from 1889 under Frank Morley Fletcher and briefly at the Académie Julian in Paris in 1903. In 1908 he accepted an appointment at the Edinburgh College of Art, where he taught for a few years. He travelled several times to India between 1912 and 1927 and is noted for his prints of Benares on the River Ganges. Between 1905 and 1946 E.S. Lumsden produced some 350 etchings most of which are represented in a collection held in the Burnaby Art Gallery, British Columbia, Canada. He always printed his own plates. Lumsden was elected an associate of the Royal Society of Painter-Etchers in 1909 and raised to the full membership in 1915. He was elected an Associate of the Royal Scottish Academy in 1923 and a full member in 1933; and he was President of the Society of Artist Printers from 1929 to 1947.In 1925 the publishers Seeley Service issued what is still regarded as the seminal treatise on the subject of etching, called The Art of Etching. In the book Lumsden describes the various techniques of intaglio printing using etching, drypoint, mezzotint and aquatint; he describes the history and development of etching through Rembrandt, Goya and the etching revival; and he reproduced personal, illustrated notes from several eminent etchers of the period on their techniques including: Marius Bauer, Frank Benson, Muirhead Bone, George Clausen, David Young Cameron, Frank Short, Augustus John, Frank Brangwyn, James McBey, Edmund Blampied, Percy Smith, Christopher Nevinson, Laura Knight, and John Everett. The book was published as a trade edition, which is still in print, and as a limited edition of 150 copies containing four original etchings by Lumsden. In 1913 Lumsden married Mabel Allington Royds, a noted artist in woodcuts.
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