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Lot 396
DDS. John Makepeace, OBE (b. 1939) Knot Chair Gravure etching Pencil signed lower lower margin Limited edition 26/100 Image 43.5cm x 28cm This was produced for and exhibited at the Chicago International New Art Forms Exposition, 19th to 22nd September 1991 and is illustrated in the exhibition catalogue as the Exposition Print
Lot 493
AFTER JOHNSTON BAIRD "A mountainous lakescape", black and white dry point etching, signed in pencil in the margin, four various black and white etchings, nine various Punch cartoon prints, AFTER C F TUNNICLIFFE-a set of three bird prints, AFTER WILLIAM DANIELL "Bognor", "Port Patrick, Wigtonshire" and "Hythe"-a set of three coloured engravings, AFTER W HEATH ROBINSON "Seaside crime", a coloured print and various other prints
Lot 509
A Stevengraph "Full Cry" contained within birdseye maple frame, A LE BLOND print "Snowballing", contained within verre eglomise frame, a coloured etching "Rouen Cathedral", 19th CENTURY ENGLISH SCHOOL "Charlotte"-portrait study of a young woman wearing a broad brimmed hat, watercolour, bearing printed card verso "In remembrance of George Challoner and of Charlotte his wife", and a coloured print
Lot 273
Benjamin Lewis Vulliamy & Justin Theodore Vulliamy The Bronze Lamp given by the Prince Regent to the Royal Academy etching with aquatint by H. Moses and F.C. Lewis respectively, published 1813 by the designers, 610 x 510mm (24 x 20 in), unframed. *** Benjamin (1780-1854) and Justin Vulliamy (1781-1870) were the second generation of the family firm of clockmakers, originally of Swiss origin, established in London in the mid 18th century. Benjamin succeeded his father as clockmaker to the king. The plate depicts the 8ft diameter chandelier designed and made by Vulliamy and Sons, Pall Mall, London, in 1812. Condition report: Slight surface dust, soft creasing to upper right corner just affecting image, uneven trimmed on or just within the platemark but well outside the image.
Lot 283
Johann Ulrich Krauss Lamentation of Christ engraving, reverse copy after Albrecht Dürer`s Lamentation from the Small Passion, 85 x 70mm (3 1/4 x 2 3/4 in) § Anton Joseph Prenner. Annunciation, etching, after Annibale Carracci, c.1728, from the series `Theatrum Artis Pictoriae`, trimmed, lacking engraved border, 215 x 145mm (8 1/2 x 5 3/4 in), both unframed. Condition report: The Krauss has some browning, with numerous pin holes in the sheet.
Lot 285
Jan Lievens A bearded man in profile etching, with monongram centre left, indistinct ink stamp verso, 17th century, 145 x 120mm (5 3/4 x 4 3/4 in); with A Young man in profile, etching, trimmed into plate at lower and right margin, 150 x 115mm (6 x 4 1/2 in), both unframed. (2) Condition report: Bearded man in profile has several damp-stains, slight browning, and surface dirt with finger-soiling. The Young man in profile is missing roughly 10-15mm at the lower margin, and 30mm at the right margin, including the loss of the monogram.
Lot 287
Augustin Quesnel the Elder (publisher) Saint John the Evangelist, with eagle and tablet etching, c.1620-1650 or later, trimmed, laid down onto paper support, 115 x 140mm (4 1/2 x 5 1/2 in); with an etching after Raphael by Jan de Bisschop of a woman seen from behind carrying 2 jugs, an etching with aquatint by Johann Gottlieb Prestel, and an engraving of Virgin Mary, published by Luigi Guidotti, v.s., all unframed (4).
Lot 288
Spiegel van Staet, en Recht der Burgers broadside, etching and letterpress, 1672, Dutch text, 435 x 345mm (17 x 13 1/2 in); with Jan and Casper Luyken. Moord van Hendrik de Vierde, engraving, [17th century or later], 295 x 370mm (11 3/4 x 14 1/2 in), both unframed (2) *** `A broadside on the importance of loyality towards The Netherlands and William III of Orange, showing how the alleged traitors Jan and Cornelis de Witt paid for their actions with their lives; with an etching showing a crowded market place, and various scenes illustrating the capture, torture, and killing of the brothers Jan and Cornelis Witt, and the exhibition and opening of their bodies on the gallows`. (BM 1885,1114.166)
Lot 295
An album of engravings and etchings including The rape of the Sabines by Cherubino Alberti, after Caravaggio, c.1570-1615 or later, with collector`s stamp of Martin Folkes [Lugt 1034], Adoration of the Shepherds after Carlo Maratti, c.1680-1720, 6 Piranesi etchings from Archi Trionfali, a Franciscus de Neve etching, published by Giovanni Giacomo de` Rossi, a Paul Sandby etching, c.1758, with etchings after Fragonard, Boucher, Veronese, and others, total c.145 prints, 18th and 19th century, v.s., all neatly tipped into album leaves, straight-grained morocco, gilt, worn, 4to. Condition report: Occassional spotting, browning, surface dirt and stains.
Lot 296
Captain William Baillie Parish Orphans mezzotint, proof before letters, after Antoine Le Nain, c.1771, 355 x 250cm (14 x 9 3/4 in) § Hamlet Winstanley. The angel expelling Adam and Eve from the Garden of Eden, etching, on watermarked laid paper, full margins, after Guido Reni, c.1728, 310 x 335mm (12 1/4 x 13 1/4 in); with St Bartholomew flayed alive, after José de Ribera, c.1729, 370 x 250mm (14 1/2 x 9 3/4 in) § Henry Winstanley of Littlebury. A Generall Prosepct of the Royall Pallace of Audley End in the County of Essex, c.1686 or later, etching, 165 x 265mm (6 1/2 x 10 1/4 in), all unframed (4) Condition report: Slight durface dirt, with some spotting and folds to the Prospect of the Royal Palace of Audley etching.
Lot 297
James Barry Jupiter & Juno on Mount Ida etching and traces of aquatint, state after conversion to an etching, dated `1777`, this state c.1790, [Pressly, 11.II], 260 x 195mm (10 1/4 x 7 3/4 in); with a group of 19 engravings by various artists, the majority after Turner, v.s., all unframed (20) Condition report: The Barry etching is tipped onto paper support at the corners, and has some surface dirt, handling creases, with thread margins. The other engravings have occassional browning, spotting, and surface dirt.
Lot 298
Francesco Bartolozzi Male nude stepping out of a tomb crayon-manner etching, printed in brown ink, after a drawing by Michelangelo, c.1795 or later, 410 x 305mm (16 x 12 in) § Felicien Rops. Petite sorcière, colour etching and aquatint, c.1897, [Exsteens, 867], 270 x 180mm (10 3/4 x 7 in); with an etching of a canal view in Venice, dated in pencil, 1908, all unframed (3)
Lot 301
After Charles Le Brun La réduction de Marsal en Lorraine par le Roy Louis XIV l`an 1663 Louis XIV on horseback receiving the keys of Marsal, etching, by Sébastien Leclerc I, c.1683, published by Girard Audran, 380 x 550mm (15 x 21 3/4 in); After Sir Edwin Landseer and Sir Augustus Wall Callcott. Harvest in the Highlands, engraving, by James Tibbetts Willmore, c.1856 or later, 430 x 980mm (17 x 38 1/2 in); with an engraving of a group of mounted cavlarymen with a battle scene going on behind them, possibly the Duke of Marlborough at the Battle of Blenheim, unevenly trimmed into the image. Condition report: Central vertical fold, with even browning, trimmed to image. The Landseer is unexamined out of its frame but has several repaired tears, with liaght spotting, and appears to have been rebacked.
Lot 305
S.W. Fores (Publisher) Diversions of Hatfield five men who appear to be menservants are grouped on the left of the design, taking part in an archery contest, the target is placed on a tree in the form of a woman, hand-coloured etching, 1789, 245 x 690mm (9 3/4 x 27 in), [BM Satires 8269]. Condition report: Trimmed to the platemark in the left, right, and lower margins, some surface dirt and browning, handling creases.
Lot 311
Giovanni Battista Piranesi Veduta della Basilica, e Piazza di S. Pietro in Vaticano etching, 4th state of 7, with artist`s Palazzo Tomati address and price, c.1750, Rome, 400 x 540mm (15 3/4 x 21 1/4 in), [Hind 3 IV; F.787; W-E.136]; with 3 others in poor condition, including a later state of The Pyramid of Caius Cestius, with enlarged pyramid, and S. Paolo Fuori le Mura, all unframed (4) Condition report: The etching of St. Peter`s forecourt has been trimmed into the platemark at the upper margin, and has surface dirt, handling creases, and minor surface stains.
Lot 314
Johann Heinrich Ramberg Slave Market etching, on laid paper, c.1799, 510 x 615mm (20 x 24 1/4 in), unframed. Condition report: Central vertical fold, with handling creases, surface dirt and finger-soiling in the margins. There are several small tears into the margin, not affecting the image.
Lot 326
Thomas Daniell Calcutta, No.8 depicting the Gentoo Buildings from the River Hoogly, from Views in Calcutta, etching with aquatint on laid paper, with some hand-colouring, [Abbey Travel 492, no.8] 1788, by the artist in Calcutta, 400 x 520mm (15 3/4 x 20 1/2 in), unframed, preserved in a blue cloth solander box bearing the bookplate of Robert & Maria Travis, gilt-lettered label morocco label, Daniell, Calcutta, on spine. *** Provenance: ex-collection of Robert & Maria Travis (Sotheby`s London, May 2005, c.f. lot 75). From the series of 12 views proposed by Thomas and his nephew, William Daniell, almost as soon as they arrived in Calcutta in 1786. It shows the artist/printmaker experimenting with the relatively new technique of aquatinting, which does not seem to have come easily to him, particularly in the trying circumstances of publishing locally. Half of the series was issued later that year, but the remainder not until two years later. Condition report: Trimmed to the border line and occasionally shaving into it, as issued. Some browning and spotting, an area of surface abrasion upper right, the sheet lined with japan tissue an mounted at corners onto a support sheet.
Lot 339
Francisco Jose de Goya y Lucientes Dos Grupos de Picadores Arrollados de Sequida por un solo Toro plate 32 for La Tauromaquia, aquatint and etching with drypoint, on wove paper, 1816 or later, [H.235], 240 x 350mm (9 1/2 x 13 3/4 in). Condition report: Light spotting, hinged into conservation mount.
Lot 341
Sir Hubert von Herkomer Ivy; Clematis half-length classical maidens crowned with wreaths, mixed-method engravings ("Herkomergravure"), [1896], [Fine Art Society], Ivy signed in the plate, upper right, each c.510 x 410mm (20 x 16 1/4 in). *** An example of the inventive printing technique explored by Sir Hubert von Herkomer, R. A. (1849-1914), usually in collaboration with Norman Hirst (1862-c.1955). This involved creating a monotype by applying ink by hand to a lithographic stone, then producing a photogravure of the result. This he dubbed a Herkomergravure. It could then be enhanced with additional mezzotint or etching to give definition to surfaces and outlines, but the overall result remains very free and spontaneous. Condition report: Both laid down onto paper support, with some surface dirt, glue and damp-stains in margins. Clematis has some exposure lines and surface abrasion and marks on picture.
![John Martin The Fall of Babylon mezzotint with etching, on india laid paper, c.1831, [Campbell-Wees, 88], c. 465 x 720mm (18](http://lot-images.atgmedia.com/SR/1574/2847940/348-20119229465_468x382.jpg)
![John Martin The Fall of Nineveh mezzotint with etching, on india laid paper, c.1829, [Campbell-Wees, 82], 550 x 820mm (21 3/](http://lot-images.atgmedia.com/SR/1574/2847940/349-20119229469_468x382.jpg)
Lot 358
Luigi Rossini Veduta Generale del Foro Romano etching, c.1821, Rome, 530 x 705mm (20 3/4 x 27 3/4) § Giovanni Battista Piranesi. Sepolcro de` tre fratelli Curazj in Albano, from Le Antichità Romane III, etching, c.1748-1778 or later, 400 x 605mm (15 3/4 x 23 3/4 in) § Georg Balthasar Probst. Prospect of Palmyra, engraving, 18th century, 275 x 390mm (10 3/4 x 15 1/4 in) (3)
Lot 376
William Lionel Wyllie Fishing Luggers off Dover etching, signed in pencil in the plate, lower left, c.1905, 310 x 460mm (12 1/4 x 18 in) § Roland Langmaid. Tall Ship, etching, signed in pencil lower right, 300 x 200mm (11 3/4 x 7 3/4 in), unframed. Condition report: Slight browning and surface dirt.
Lot 380
Sir Frank Brangwyn Scaffolding, No. 1 (L`Échafaudage) etching, signed in pencil, 1919, 1 of 54 impressions, with full margins, [Gaunt, 245], 480 x 535mm (18 3/4 x 21 in), unframed. Condition report: Rough edges, with some tears into margins, but none affecting the image. Some surface dirt and ink stains in margins, with slight handling-creases.
Lot 385
Charles Herbert Arthur Chaplin ARE Stoat etching, signed in pencil, lower right, titled lower left, original backboard inscribed with artist`s address, title, and list of where exhibited, 110 x 215mm. (4 1/4 x 8 1/2 in). *** Exhibited: Royal Academy, Royal Society of Etchers and Engravers, Toronto, New York, and was the Print Collectors` Club print for 1950.
Lot 388
Charles Maurice Detmold Tiger`s head etching with mezzotint on japan tissue, signed in pencil M.Detmold, lower right, initialled M.D., lower left in the plate, 175 x 240mm. (6 7/8 x 9 1/2 in). Condition report: Slight browning, minor cockling to corners where mounted on support, a repaired tear to upper left sheet corner, outside the plate.
Lot 390
Herbert Thomas Dicksee A shepherd driving his flock etching with drypoint on vellum paper, signed in pencil lower left, initialled in the plate, also lower left with Printsellers Association blindstamp below, 1901, Frost & Reed, 520 x 660mm. (20 1/2 x 26 in); with a duplicate, and another signed Dicksee print, The Road to the Village, and Parting Ways, this unsigned, all unframed (4). Condition report: The first mentioned with some cockling, the duplicate with thin varnish overall and a few marginal defects at sheet edges, the third plate with a crease through the image, the unsigned plate with marginal browning.
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71174 item(s)/page