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(1758 Bordeaux - 1836 Paris) nach"Quatrième Suite le Cheveaux d'apres Carle & Horace Vernet". OriginaltitelHandkolorierte Aquatinta/Papier, um 1815. In der Platte bez./betitelt. Bl. 40 aus der Serie "Recueil de Chevaux tous genres", Paris um 1815. Stellenweise stockfleckig, ger. gebräunt, kl. Einriss. 24,5 cm x 34,5 cm. Rahmen.Hand-coloured aquatint. Plate 40 from the series "Recueil de Chevaux tous genres", published in Paris. Minor foxing and browning, small tear.

(1870 Bersenbrück - 1944 Osnabrück)"Unter den Linden" (auch betitelt "Dorfpolitiker"). OriginaltitelRadierung u. Aquatinta/Papier, 1910. R. u. sign.; Wvz. Hamm D31. Eines von ca. 400 sign. Exemplaren. Breitrandiges Exemplar. Leicht gebräunt. Plattenmaß ca. 33 cm x 45,5 cm; Blatt ca. 45 cm x 58,5 cm. Rahmen.Etching and aquatint on paper, 1910. Hand-signed. One from an edition of ca. 400 signed copies. Wide margins. Minor light toning.

(1746 Fuendetodos/Aragón - 1828 Bordeaux)"El sueño de la razón produce monstruos" (Der Schlaf [Traum] der Vernunft gebiert Ungeheuer)Radierung u. Aquatinta/Papier, um 1797-1799. L. u. betitelt, r. o. in der Platte die Nr. "43". Wasserzeichen der Calcografia Nacional mit Dat. 1970. Als 43. Blatt der insgesamt 80 in der innovativen Aquatintatechnik ausgeführten Radierungen aus Goyas 1799 erstmals veröffentlichter Sammlung "Los Caprichos" (Launen, Einfälle) gehört es zu den bedeutendsten und meistinterpretierten grafischen Werken der Kunstgeschichte. Es zeigt Goya schlafend an einer Art Tisch, umgeben von unheimlichen nächtlichen Wesen, und war ursprünglich als Titelblatt der Sammlung geplant. Da sich von der Erstausgabe der "Caprichos" von 300 nur 27 Exemplare verkauften, bot Goya 1803 die Restauflage und Platten König Karl IV. von Spanien zum Kauf an. Erst viel später erschienen etliche Neuausgaben der "Caprichos", zuerst circa 1821-1836, zuletzt 1970. Plattenmaß ca. 21,6 cm x 15,2 cm; Blatt ca. 37 cm x 26,5 cm. Rahmen. Die original Druckplatte befindet sich im Museo de Calcografía Nacional, Madrid.Etching and aquatint on paper, circa 1797-1799. Sheet no. 43 of the portfolio "Los Caprichos", first published 1799, later editions are published 1821-1970. Titled on the plate. Watermark by the Calcografia Nacional, dated 1970.

(1902 Berlin - 1968 Köln)"Farbaquatinta 1965 - 7". Originaltitel.Farbaquatinta/Japan, 1965. R. u. sign. u. dat. (19)65. Außerhalb der Auflage von 100 signierten Exemplaren erschienen. Wvz. Gabler 81. Im Randbereich leicht nachgedunkelt u. ger. fleckig. Plattenmaß ca. 21,5 cm x 15,5 cm; Blatt ca. 32,5 cm x 28 cm. Rahmen.Aquatint in colours on Japan paper. Signed and dated (19)65. Minor browning and foxing in some areas.

(1937 Hamburg - 2001 ebenda)Zwei figurative KompositionenFarbaquatinta und Farblithographie/Velin, um 1970. Jeweils sign., ein Blatt dat. und bez. "e.a." (Epreuve d'artiste), ein Blatt nummeriert 31/100. Teilw. ger. Läsuren. Blätter 64,5/86,5 cm x 49,8/64 cm. Aquatint and lithograph in colours on wove paper. Each hand-signed, one sheet dated 1970 and inscripted "e.a." (Epreuve d'artiste), one sheet numbered 31/100.

(1870 Bersenbrück - 1944 Osnabrück)"Primula veris". OriginaltitelRadierung u. Aquatinta/Papier, 1909. R. u. sign.; Wvz. Hamm D19. Eines von ca. 275 sign. Exemplaren. Breitrandiges Exemplar. Gebräunt. Plattenmaß ca. 29 cm x 38,5 cm; Blatt ca. 43 cm x 50,5 cm. Rahmen.Etching and aquatint on paper, 1909. Hand-signed. Wide margins. Light toning.

Gillray (James) Le débarquement du chevalier John Bull et de sa famille a Boulogne sur Mer. The landing of Sir John Bull & his family, at Boulogne sur Mer, three burly French fishwives carry on their backs three English visitors through the water from a boat, after Henry Bunbury, etching and aquatint with original hand-colouring, on two sheets of conjoined wove paper without watermarks, total sheet 258 x 690 mm (10 1/8 x 27 1/8 in), trimmed to or just within the platemark, repaired split to right side of upper edge, other small marginal nicks carefully repaired verso, handling creases, unframed, published by Hannah Humphrey, unframed, 1792Literature:BM Satires 8189

Gillray (James) Boney and Talley. The Corsican Carcase-Butcher's Reckoning Day, heading a 27-verse broadside, etching and aquatint with original hand-colouring, on wove paper without watermark, platemark 320 x 325 mm (12 1/2 x 12 3/4 in), letterpress text below, the sheet 595 x 360 mm 23 1/2 x 14 1/8 in), central horizontal fold, some offsetting, minor repaired nicks and small marginal losses, unframed, published by J. Ginger, 169 Piccadilly, Price Two Shillings and Six Pence, coloured. Printed by D. W. Shury Berwick Street, 1803Literature:BM Satires 10091⁂ An invasion satire from September, 1803, depicting Napoleon as a frenzied butcher, restrained by Talleyrand from launching himself at a huge bull standing on the cliffs of Dover, the channel filled with ships, the butcher's shop filled with the carcasses of a Spanish sheep, a Dutch pig, Swiss cow, a 'native breed' monkey, and others.

Gillray (James) John Bull bother'd or The geese alarming the Capitol, etching and aquatint with original hand-colouring, on wove paper without watermark, sheet 314 x 395 mm (12 1/4 x 15 1/2 in), thread margins, small repair to upper right corner with associated stain, unframed, published by Hannah Humphrey, 1792Literature:BM Satires 8141⁂ A terrified Pitt clutches John Bull, an armed yokel, both on a parapet watching a flock of geese approaching by moonlight, a satire of Pitt's pre-emptive summoning of the militia to counter rumours of rising revolution amongst the Scots and the Irish.

Gillray (James) Shrine at St Ann's Hill, etching and aquatint with hand-colouring, a very good impression on wove paper with watermark date '1794', platemark 360 x 260 mm (14 1/4 x 10 1/4 in), sheet 410 x 290 mm (16 1/4 x 11 1/2 in), good margins, minor exposure lines, surface dirt and stains but mainly to margin, the lower right corner slightly trimmed in the margin, and smaller loss to upper left corner margin, neither affecting the platemark or image, small repaired tear to right margin, toning and stains visible verso, small hole between the l's in 'Hill', unframed, published by Hannah Humphrey, 1798Literature:BM Satires 9217⁂ A satire on the retirement of Charles James Fox (1749-1806) to St. Ann's Hill, during the secession from parliament in 1797.

Gillray (James) The Bear and his Leader, etching and aquatint with original hand-colouring, on wove paper, sheet 245 x 345 mm (9 3/4 x 13 1/2 in), tipped onto card support, trimmed to or just within the platemark, small repaired splits to upper centre, minor spotting, unframed, published by Hannah Humphrey, 1806Literature:BM Satires 10566⁂ Satire on the 'Broad Bottom' coalition Ministry, with Fox as a muzzled dancing bear led by Grenville, accompanied by Sidmouth as a blind violinist and the chancellor, Lord Herny Petty, as a dancing monkey.

Gillray (James) The King of Brobdingnag, and Gulliver. -Vide. Swift's Gulliver: Voyage to Brobdingnag, etching and aquatint with original hand-colouring, an excellent impression on wove paper, sheet 310 x 250 mm (12 1/4 x 9 3/4 in), tipped onto mount support, minor browning, unframed, published by Hannah Humphrey, 1803Literature:BM Satires 10019 ⁂ George III, half length, stands in profile to the left, a holding a tiny Napoleon on the palm of his right hand, and inspecting him through a spy-glass. Lord Holland notes (MS.) that the print was shown to the King who exclaimed 'quite wrong quite wrong no bag with uniform!!!'. [BM]

Gillray (James) Habits of New French Legislators, or "French Habits", the set of 12, etchings, some stipple and aquatint, printed in brown ink, with full hand-colouring, on Whatman wove papers, some watermarked, each platemark 260 x 200 mm (10 1/4 x 7 7/8 in), sheets approx. 320 x 250 mm (12 1/2 x 9 3/4 in), under glass, uniformly mounted in acid free mounts, appear to be mounted on thin conservation support, occasional handling creases and minor browning, framed, published by Hannah Humphrey, 1798 (12)Literature:cf. BM Satires 9201-9213⁂ A complete set of this scarce group of twelve caricatures.

Germany.- Heideloff (Victor) Ansichten von Hohenheim, parts 2-4 only (of 6), 15 fine hand-coloured aquatint plates and one hand-coloured plan only (of 18 in these Lieferungen, 24 in total), occasional spotting and finger soiling, one in part 2 smaller and perhaps from another copy, original green wrappers with engraved paper label to upper covers (each with contemporary ink inscription), lower wrapper and some text/plates lacking from part 3, folio, Nuremberg, Johann Friedrich Frauenholz, 1796-98; sold not subject to return⁂ Rare, with RBH recording a complete copy being sold in 1965 and 2 parts only (with 12 plates) in a German auction house in 2014.

Switzerland.- [Lory (Gabriel)] Picturesque Tour through the Oberland in the Canton of Berne in Switzerland, hand-coloured engraved map and 17 fine hand-coloured aquatint plates, bookplates of George Veitch and Michael Matantos, title with small mark in red pen, affecting one letter, short closed tear to head, not affecting text, some very light spotting and offsetting, modern half green morocco, gilt, uncut, spine slightly sunned, [Abbey, Travel 57; Tooley 26], small folio, R. Ackermann, 1823.⁂ Including an account of the first ascent of the Jungfrau and Finsteraarhorn by the Meyer brothers in 1812 (p.60).

Winchester School.- Ackermann (Rudolph, publisher) [The History of Winchester College], 10 hand-coloured aquatint plates, list of subscribers, some slight offsetting, handsomely bound in 20th century blue morocco, gilt, by FRS Lloyd of London, [Abbey, Scenery 438; Tooley 3], lge. 4to, London, R. Ackermann, 1816. ⁂ Issued as part of Ackermann's The History of the Colleges of Winchester, Eton and Westminster... .

(University of Cambridge), 'Gradus Ad Cantabrigiam; Or New University Guide To The Academical Customs, And Colloquial Or Cant Terms Peculiar To The University Of Cambridge; Observing Wherein It Differs From Oxford...by a Brace of Cantabs', London, John Hearne, 1824, 1st edition, 5 hand coloured aquatint plates of University costumes and scenes (of 6, lacking the scarce "Quite Unexpected" plate at page 86, as often), plus uncoloured wood engraved portrait plate of Jemmy Gordon, [8],131,[1]pp, content includes customs and slangs peculiar to the university, contemporary calf gilt

Edward Bawden & Eric Ravilious: 'Away We Go! Advertising London's Transport', Sparham, Mainstone Press, 2006, 1st edition, illustrated throughout, original pictorial wraps; P. Skipwith & B. Webb: 'Edward Bawden's London', V & A, 2011, 1st edition, colour & black & white ills. throughout, orig. cloth, dust wrapper; C. Bacon & J. McGregor: 'Edward Bawden', Cecil Higgins Art Gallery, 2008, orig. cloth, d/w; 'Eric Ravilious in Context', Fine Art Society, 2002, colour ills. throughout, orig. printed wraps; 'Signature. A Quadrimestrial of Typography and Graphic Arts', 1947, new series No.4, content includes Edward Bawden full page litho illustration of the original linocut "Campions and Columbine", John Piper half tone full page illustration of original etching and aquatint "Hall Place Chapel", plus other full page and in text ills. by Lynton Lamb, Michael Ayrton, Barnett Freedman, Michael Rothenstein etc, original printed wraps; C. Colvin: 'John Nash Book Designs', 1986, ills. throughout, orig. wraps; 'Artists at the Fry. Art and Design in the North West Essex Collection', 2003, orig. wraps, ills. throughout by Bawden and other Great Bardfield artists, orig. pictorial wraps; plus 4 titles by Ruth Artmonsky on Edward McKnight Kauffer, 20th Century art & design and interior design etc (11)

(Nepal), Colonel William Kirkpatrick: 'An Account of the Kingdom of Nepaul, Being the Substance of Observations Made During a Mission to that Country, in the Year 1793', London, W. Bulmer for William Miller, 1811, 1st edition, stipple engraved title vignette, large multi-folding engraved map of Nepal + 14 engraved plates (of which one hand coloured aquatint) complete as called for, 4pp. publisher's catalogue at end, 4to, contemporary diced calf gilt (worn, boards detached but present, lacks part of backstrip at head and tail of spine), all edges gilt, inner dentelles gilt. William Kirkpatrick's account of his 1792 diplomatic mission to Nepal, "leading the first Britons into that kingdom". Kirkpatrick (1754-1812) was an officer with Lord Cornwallis in India and was dispatched to Nepal to settle a dispute between Nepal and Tibet. At the time Nepal was spoken of as another El Dorado and was the subject for 'Lost Horizon'. In this work Kirkpatrick outlines his route to Katmandu, provides an historical sketch of the country, and details the boundary and divisions of Nepal. The appendices contain official papers and letters relating to his mission and the origin of the war between Nepal and Tibet, and include the correspondence of Cornwallis with Tibet during the war. The work provides much on the topography, geography, climate, agriculture, botany, zoology, culture, peoples, economy, history and with an extensive vocabulary listing. Scarce

A group of nine mid-19th century hand-coloured equestrian engravings with aquatint, all depicting famous racehorses, after paintings by John Frederick Herring, circa 1830-1840, all approx 36cm x 42cm, framed.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.

Thomas Girtin (1775-1802) British, 'View of Pont Neuf', etching and aquatint, 9.5" x 23" (24 x 58cm).

Thomas Girtin (1775-1802) British, 'View of The Tuileries and a Bridge', etching and aquatint, 10" x 23.5" (25 x 60cm).

Valerie Thornton, A facade, coloured etching and aquatint, numbered 9/50 and signed in pencil, 15.75" x 20.75", (40x53cm).

Graham Vivian Sutherland OM (British, 1903-1980), "Fight between Workers and Drones", etching and aquatint on Magnani wove paper, signed in pencil lower right and numbered 59 of an edition of 66, metal frame, 17 ½ x 14in. (44.4 x 35.5cm.); accompanied by the Exhibition Catalogue of the fourteen Etchings and Aquatints in the series "Bees" produced by Graham Sutherland. The Catalogue was published to coincide with the exhibition at Marlborough Fine Art (London) Ltd, 6 Albemarle Street, London June - July 1977., * Provenance: The Pallas Gallery Ltd, London, 5th July 1978., ** Notes: Plate 14 from the suite "The Bees". Printed after 2nd March 1977 in , four colours: yellow, violet, brown & black on Magnani paper. Etched by the artist in collaboration with Eleonora and Valter Rossi and printed in Rome by Adriano Corazzi and Antonio Di Leo. Marlborough Fine Art Edition, London & Rome., ** Good condition, full margins. Acidic mount., Good condition, full margins. Acidic mount.

China interest - M'Leod (John), Voyage of His Majesty's Ship Alceste, along the Coast of Corea, to the Island of Lewchew, second edition, pub. John Murray, London 1818, engraved portrait frontispiece, five hand-coloured aquatint plates, contemp. tan half calf with marbled boards and end papers, rubbed, spine slightly sunned, foxing and browning, some slight creasing, 8vo. Rubbed, spine slightly sunned, foxing and browning, some slight creasing.

John Fullwood (British School, early 20th century), "Great Crag, Borrowdale", inscribed with title and signed lower right in margin, etching, 19.5 cm x 17 cm (PL), and an aquatint "Ullswater the Three Reaches" by R. Herdman-Smith, inscribed and signed in pencil in margin (2).

John Hoyland RA, British, 1934–2011, The Sorcerer; 1989; etching and aquatint in colours on wove, signed and dated and numbered 54/65 in pencil, sheet 90 x 69.5 cm, (unframed) (ARR)Please refer to department for condition report

AMENDMENT- please note this lot is unframed.Georges Braque, French 1882-1963, Green Head [Vallier 58], 1950; etching with aquatint in colours on wove, signed and numbered 25/30 in pencil, sheet: 49.8 x 32.5 cm, (framed) (ARR) Note: this book is accompanied by the monograph 'George Braque Printmaker', published by The Tate Gallery.Please refer to department for condition report  

Mimmo Paladino, Italian b. 1948- Camera degli Sposi, 1985; etching with drypoint, aquatint, spit-bite, and engraving printed chine collé on wove, signed, dated and numbered 38/40, printed by Harlan & Weaver, New York, published by Waddington Graphics, London, plate: 24.5 x 32 cm, (framed) (ARR) Note: One can find a similar example in The Museum of Fine Arts, Houston, accession number: 2016.183Please refer to department for condition report

Donald Sultan, American b. 1951- Pomegranates, 1990; etching with aquatint in colours on Somerset wove, initialled, dated, titled and numbered AP 10/13 in pencil, aside from the edition of 60, published by Waddington graphics, sheet: 90.7 x 121.2 cm, (unframed)Please refer to department for condition report

Johnny Friedlaender, German/French 1912-1992, Campagne D'Ete; etching with aquatint in colours on BFK Rives watermarked wove, signed and inscribed 'Epreuve d'Artiste' (Artist's Proof) and 'Campagne d'ete' in pencil, image: 64.2 x 48.3 cm, (framed) (ARR) Please refer to department for condition report

Max Ernst, German 1891-1976, Oiseaux en Péril, 1975; etching with aquatint in colours on Japanese wove, signed and numbered 47/100 in pencil, published by Georges Visat, Paris, plate: 25.5 x 30.4 cm, (framed) (ARR)Please refer to department for condition report

Tom Phillips CBE RA, British b.1937-Dante Alighieri, the Divine Comedy: Inferno, 1983;etching, aquatint, lithographs, silkscreens on 100% rag Inveresk acid-free mould-made 250gsm wove in three volumes, boxed, each print initialled in pencil, each sheet watermarked by Tom Phillips, a limited edition of an unknown size, printed by The Talfourd Press, published by Tom Phillips, box: 45 x 35 x 19 cm, (unframed) (ARR)Note:Typography by Ian Mortimer, and printed at IM Imprimit, London.Binding by Pella Erskine Tulloch.Project coordinator Anthea Toorchen.Intaglio plates worked, proofed and editioned by Nick Tite and the artist at the Talfourd Press between 1979 and 1983, and completed by John Duffin in 1989.Lithographs worked and proofed by Nick Hunter at the Talfourd Press, and editioned at the Dog's Ear Press, London between 1979 and 1983.Silkscreens proofed and editioned under the direction of Chris Betambeau at Advanced Graphics, London between 1979 and 1983.Additional silkscreens proofed and editioned by Brad Faine at the Coriander Press, London in 1982.Please refer to department for condition report

Julian Trevelyan RA, British 1910-1988, Banana Girl, 1966-67; etching and aquatint, signed, titled and numbered 5/125, image: 47.7 x 35 cm, (framed) (ARR)Please refer to department for condition report

PAIR OF ANTIQUE COLOURED ENGRAVINGS, PARTRIDGE SHOOTING NEAR WINDSOR & PHEASANT SHOOTING IN BLACK PARK NEAR UXBRIDGE. DRAWN AND ENGRAVED BY ROBERT HAVELL. AQUATINT PUBLISHED C1820 IN GOOD HOGARTH FRAMES 16 X 20”

After Chalon, colour aquatint" Vandyke", trimmed to image on 3 sides 46 x 57cm, framed and glazed

After C Loraine Smith, coloured aquatint, the Bilsden Coplow Day, trimmed to image on 3 sides, 49 x 66cm, Framed and glazed

Rose Hilton (1931-2019), “The Bathroom I”, signed artist’s proof, limited edition 9/25, dated ‘09 (2009), inscribed on a later label verso, etching and aquatint, 21.5x15.3cm.

Emil Orlik Regentag in Kyoto. Orig.-Aquatintaradierung. Signiert und numeriert. 1902. Druck in Graubraun auf dünnem Japan-Bütten. Darstellung 16 : 11,2 cm. Blattgröße 24,5 : 16,8 cm. 1 von 12 römisch numerierten Exemplaren auf Japanbütten, wohl erste Abzüge nach den Probedrucken. Unter dem Einfluß von Orliks Ostasienreisen entstanden. Später wurde die Radierung farbig in Braun und Rot ausgeführt und erschienen als Blatt 9 der Mappe Aus Japan. LITERATUR: Glöckner I/102. Dabei: Emil Orlik , Holzsammlerin im Walde. Dreifarbiger Orig.-Holzschnitt. 1903. Auf dünnem Japanbütten. Darstellung 14 : 11,7 cm. Blattgröße 15 : 12,5 cm. - Verso am Oberrand auf bedrucktem bräunlichem festem Papier montiert. 1 of 12 Roman numb. copies in grey-brown on Japanese laid paper, which were probably first impressions after the proofs. Orig. aquatint etching. Signed and numbered. Image 16 : 11.2 cm. Sheet size 24.5 : 16.8 cm. - Verso in the upper center of the sheet with 1 trace of mounting (shining through) and on the edges with 3 small traces of mounting. - 1 addition (Holzsammlerin im Walde. Three color woodcut. 1903). Dieses Objekt wird  differenzbesteuert angeboten.

Jean Miró Préparatifs d'oiseaux IV. Orig.-Farbaquatinta-Radierung. Signiert und numeriert. 1963. Auf BFK Rives mit Wasserzeichen. Blattgröße 48,5 : 58,5 cm. Farbkräftiger Abzug in 1 von 75 signierten Exemplaren auf Rives Papier. Die Serie von 4 Aquatinten mit dem Titel Préparatifs d'Oiseaux zeigt die gleiche Komposition in verschiedenen Farben und mit unterschiedlichen einfassenden farbigen Formen. Miró nutzt hier erfindungsreich die Techniken im Medium der Farbätzung. In der vorliegenden Aquatinta hat er um die Eier bewachenden Vögel einen grellgrünen Dreiviertelkreis gelegt, der den Schutz der Natur in einer bedrohten Welt symbolisiert. - PROVENIENZ: Privatbesitz Mecklenburg-Vorpommern. - 1968 bei Maeght direkt erworben. LITERATUR: Dupin 368. Fine orig. aquatint in colors on BFK Rives, signed in pencil and inscribed (edition 75). Sheet size 48.5 cm : 58.5 cm. - Slightly browned, slightly wavy in the margin, left margin with a faint handling crease, in the two upper corners on the reverse with small traces of mounting. Private collection Mecklenburg-Western Pomerania. - Acquired directly from Maeght in 1968. Dieses Objekt wird differenzbesteuert angeboten, Folgerechtsvergütung fällt an.

Emil Nolde Dampfer (Groß, Dunkel). Orig.-Radierung mit Aquatinta und Plattenton. Signiert. 1910. Auf Velin. 30 : 40,2 cm. Papierformat 39,7 : 51,5 cm. Eines von mindestens 30 Exemplaren des vierten und endgültigen Zustandes, mit den schrägen Regenlinien und den drei ausgesparten Stellen im Wasser. Hamburg mit seinem Hafen, dem bunten Treiben, Wind und Wetter, faszinierte Nolde. Im Februar 1910 wohnte er in einem einfachen Hotel auf St. Pauli und verarbeitete die Eindrücke unmittelbar in seiner Kunst. In rascher Folge entstanden mehr als hundert Werke. - PROVENIENZ: Süddeutsche Privatsammlung. LITERATUR: Schiefler/Mosel/Urban R 135 IV (von IV). One of at least 30 copies of the fourth and final state, showing the slanting rain lines and the 3 water cutouts. Orig. etching with aquatint and plate tone. Signed. 1910. On wove paper. 30 : 40.2 cm. Paper size 39.7 : 51.5 cm. - 2 slight creases in the upper right white corner, otherwise clean impression, verso with 2 traces of mounting at upper margin. Dieses Objekt wird differenzbesteuert angeboten, Folgerechtsvergütung fällt an.

Pablo Picasso Memento mori Nature morte au Crâne. Farbige Aquatintaradierung und Carborundum. Signiert und numeriert. Um 1960. Auf Vélin d'Arches. Plattenformat 42,8 : 62,3 cm. Papiergröße ca. 56 : 76 cm. - 1 von 150 Exemplaren - Schönes Stilleben und Memento mori des Künstlers Gedruckt und herausgegeben vom Atelier Lacourière, Paris; unten links mit dem entsprechenden Trockenstempel. 1 von 150 numerierten Exemplaren. Die schöne Graphik geht auf ein Gemälde aus dem Jahr 1947 zurück (Zervos XV, 31). Colored aquatint etching and carborundum. Signed and numbered. Ca. 1960. On wove paper d'Arches. - 1 of 150 copies, beautiful still life and memento mori by the artist. - Only in the margins slightly stained. Good impression of the graphics, mounted in passepartout. Dieses Objekt wird regel- oder differenzbesteuert angeboten, Folgerechtsvergütung fällt an.

Emil Nolde Hamburger Hafen Hamburg, Schiff im Dock. Orig.-Radierung mit Aquatinta. Signiert, betitelt und datiert 'II.22'. (1910). Späterer Abzug auf Van Gelder Zonen Bütten (mit Wasserzeichen). Darstellung 30,7 : 40,7 cm. Papierformat 44,8 : 60,5 cm. - Eines von mindestens 24 Exemplaren - Entstand während Noldes dreiwöchigem Hamburg-Aufenthalt - Die 12 Jahre spätere Überarbeitung des Blattes zeugt von seiner besonderen Wertschätzung Regelmäßig besuchte Nolde auf seinen Reisen die Stadt Hamburg. Sie spielte für ihn eine zentrale Rolle, nicht nur da die Stadt ihn zu zahlreichen Werken inspirierte, sondern auch, weil er hier die Grundlage für seinen künstlerischen Durchbruch legte. 'Eines Tages hielt ich dieses Doppelleben nicht mehr aus. Was sollte ich in dem komfortablen Gasthaus tun, während doch mein ganzes Sinnen draußen in der brausenden Unruhe des Hafens lag? Ich packte alles zusammen und mietete mich in einer primitiven Matrosenschenke ein. Jetzt war ich mitten drinnen in meiner Welt, in der Umgebung, welche ich mit dem Stift festhalten wollte' (Emil Nolde, zit. nach: Hans Fehr, Emil Nolde, Ein Buch der Freundschaft, Köln 1957, S. 76). - PROVENIENZ: Süddeutsche Privatsammlung. LITERATUR: Schiefler/Mosel/Urban 138/II (von II). One of approx. 24 copies. It was created during Nolde's three-week stay in Hamburg. The repeated print of the work documents its special appreciation by the artist. Orig. etching with aquatint. Signed, titled and dated 'II.22'. (1910) Later print on Van Gelder Zonen laid paper (with watermark). Illustration 30.7 : 40.7 cm. Paper size 44.8 : 60.5 cm. - The margins somewhat browned and sunned, verso mounted in two small places at the top. Dieses Objekt wird differenzbesteuert angeboten, Folgerechtsvergütung fällt an.

Francesco Fontani Die Toskana in Aquatinta Viaggio pittorico della Toscana. 3 Bände. Florenz, G. Tofani 1801-1803. - Prachtvolles Ansichtenwerk über die Toskana - Die schönen Folio-Aquatinta-Tafeln mit Veduten der prominentesten Städte und Gebäude - Darunter doppelblattgroße Ansichten von Florenz, Siena, Pisa und Livorno - Vollständiges, breitrandiges Exemplar Erste Ausgabe des monumentalen Ansichtenwerkes. 1817 erschien eine Oktavausgabe in 6 Bänden. - Enthält mehr als 200 Aquatintatafeln überwiegend nach Antonio Terreni, darunter neben den 4 doppelblattgroßen Ansichten von Florenz, Siena, Pisa und Livorno auch 4 detaillierte gestochene Pläne der vier Städte sowie eine Kupferkarte der Toskana. EINBAND: Halbpergamentbände der Zeit mit etw. Rückenvergoldung und schwarzem Rückenschild. 54,5 : 36 cm. - ILLUSTRATION: Mit doppelblattgr. Kupferkarte, 4 doppelblattgroßen gest. Plänen und 204 Aquatintatafeln (4 doppelblattgr.). - KOLLATION: 3 Bll., S. III-VIII,168 S.; IV, 140 S.; IV, 140 S. - PROVENIENZ: Aus der Bibliothek Gaspare Rossi Scotti (1800-1864) mit dessen Besitzerstempel auf Titel. Skandinavische Privatsammlung. LITERATUR: Thieme/B. XXXII, 540 (unter Terreni). - Brunet II, 1330. - Nicht bei Pescarzoli. First edition of the magnificent collection of views of Tuscany. With 204 aquatint plates mainly after Antonno Terreni (4 doublepage), 4. doublepage engr. plans and 1 doublepage engr. map. Contemp. half vellum with some gilt decoration and labels on spine. - Slightly foxed, occasionally tanned. Bindings scraped. - Gaspare Rossi Scotti copy. Scandinavian private collection. Dieses Objekt wird regel- oder differenzbesteuert angeboten.

▴ Geoffrey Wedgwood ARCA RE (1900-1977)'Kensington'aquatint, signed 'Geoffrey H Wedgwood' and inscribed with title in pencilplate size 24 x 22.5cmCondition ReportFramed size 54.5 x 51cmNot viewed out of glazed frame. Print appears to be in good condition.

▴ Norman Ackroyd RA (b.1938)'Goat Fell - Arran'aquatint, signed 'Norman Ackroyd', inscribed with title and numbered '38/40' in pencilplate mark 12.5 x 16.5cmCondition ReportFramed size 35 x 37.5cmNot viewed out of glazed frame. Paper light brown in colour.

Pierre ALECHINSKY (1927)Dulle griet.Etching and aquatint, numbered 9/60, signed and dated 1978.Dulle griet.Ets en aquatint, genummerd 9/60, getekend en gedateerd 1978.65.5 x 103.5 cm

MUGO (1953)Night circus on the Vossenplein.Hand colored and raised aquatint, signed and dated 2002.Nachtcircus op het vossenplein.Handgekleurde en opgehoogde aquatint, gesigneerd en gedateerd 2002.69 x 49.5 cm

SCHÖNEN, KURT (geb. 1945), "Stillleben aus dem Atelier des Künstlers", Zuckergefäß als Pinselbecher und Brief mit Absender 'Kurt Schönen' auf einer Platte drapiert, Farbaquatintaradierung/Papier, u.re. mit Bleistift von Hand signiert und datiert (19)71, u.li. mit Beistift num. 45/100, HxB: Platte ca. 34,5x27 cm, Passepartoutausschnitt ca. 37x29 cm, Außenmaße Rahmen ca. 74x59 cm. Leicht gebräunt und Lichtrand. Im Passepartout hinter Glas gerahmt.| SCHÖNEN, KURT (born 1945), "still life from the artist's studio", sugar bowl as a brush cup and letter with sender 'Kurt Schönen' draped on a plate, color aquatint etching/paper, u.r. signed and dated by hand in pencil (19)71, lower left with pencil num. 45/100, HxW: plate approx. 34.5x27 cm, passe-partout cut-out approx. 37x29 cm, outer dimensions of frame approx. 74x59 cm. Slightly browned and light edge. Framed behind glass in a passe-partout.

SLEVOGT, MAX (1868-1932), "Der Geiger Andreas Weissgerber", in stehender Position spielend, Aquatinta- und Kaltnadelradierung/Papier, u.re. mit Bleistift von Hand signiert, am unteren Blattrand bezeichnet, HxB: Platte ca. 32x25 cm, Blatt ca. 51,5x34,5 cm, Außenmaße Rahmen ca. 57,5x41 cm. Gebräunt, part. fleckig, leicht gewellt, Einrisse an den Rändern. Mit verglastem Rahmen.| SLEVOGT, MAX (1868-1932), "The violinist Andreas Weissgerber", playing in a standing position, aquatint- and drypoint etching/paper, signed by hand in pencil, inscribed on the lower edge of the sheet, HxW: plate approx. 32x25 cm, sheet approx. 51.5x34.5 cm, outer dimensions of frame approx. 57.5x41 cm. Tanned, part. stained, slightly wavy, tears at the edges. With glazed frame.

Francisco De Goya (Spanish, 1746-1828) - Etching, aquatint and drypoint - Ni asi la distingue, plate 7 from Los Caprichos, 6th ed. circa 1890, 19.5cm x 14.8cm (plate size), framed and glazed, Goldmark Gallery label verso

William Hamilton RA (1730-1803) Interest - After Pierre-Francois Hughes (1719-1805) - Three aquatint etchings printed in black and terracotta ink heightened with white of red-figure vase designs after the Antique, from Hamilton’s Collection of Etruscan, Greek and Roman antiquities from the cabinet of the Honourable William Hamilton, the engravings numbered 120 and 124, with one unnumbered, 24cm x 44cm and smaller, all framed under glass (3)

Nicholas Pocock (1740-1821) - Aquatint - Kingsweston and the Bristol Channel, 25cm x 37cm, Frost & Reed label verso, framed and glazed

Early 20th Century English School, Study of a seated lady in a restaurant, unsigned, pastel, 23 x 15 cm; G. West, figures on a street, signed and dated 1926, oil on panel, unframed, 18 x 12 cm; a Victorian miniature study of a gentleman, pencil and watercolour, 9 cm diameter and various other miniature studies; Two Victorian studies of a cat and dog, both initialled F.F. and dated, oil on panel, 14 x 19 cm; a Victorian study of an oil on a gold-leaf background, unsigned, oil on panel, 38 x 67 cm; an early 19th century aquatint of a lady; and two circular botanical studies.From the estate of renowned Warwickshire antiques dealer Felicity 'Flick' Haynes.

Gilpin (William).Observations Relative Chiefly to Picturesque Beauty Made in the Year 1772 on Several Parts of England; Particularly the Mountains and Lakes of Cumberland and Westmoreland.Blamire, 1786, two volumes, 29 (of 30) aquatint plates, predominantly tinted, corner margin of B4 (vol II) torn without loss, worn half calf;idem, Observations Relative Chiefly to Picturesque Beauty Made in the Year 1776 on Several Parts of Great Britain; Particularly the High-Lands of Scotland.Blamire, 1792, second edition, two volumes, 40 aquatint plates, predominantly tinted, worn tree calf. (4)

Graham Clarke, British (B.1941-) artist, author and humourist is one of Britain's most popular and best selling printmakers, Framed Etching with aquatint, printed in colour, titled "The Quay" numbered 24/300 of Wells next to Sea, Norfolk signed in pencil lower right margin, 47cm x 43cm in good condition.  

Full title: Pierre Alechinsky (1927): 'Le sauve-qui-peut de Rocquencort', etching and aquatint, ed. 43/99, dated 1989Description:Work: 90,6 x 59 cm Paper: ca. 102 x 67 cm Frame: 111,5 x 76,7 cm The absence of a condition report does not imply that a lot is in perfect condition. Please contact us to let us know which lots are of interest, so we can make the requested reports for you.Once complete, they will be published on our website.High resolution pictures are already available on our website at www.coronariauctions.com. Further questions are always welcome at info@coronariauctions.com

Full title: Pierre Alechinsky (1927): 'Réponse muette', etching and aquatint, ed. E.A. III/XX, dated 1988Description:Work: ca. 174 x 85 cm Paper: 178,5 x 90 cm Frame: 208 x 119 cm The absence of a condition report does not imply that a lot is in perfect condition. Please contact us to let us know which lots are of interest, so we can make the requested reports for you.Once complete, they will be published on our website.High resolution pictures are already available on our website at www.coronariauctions.com. Further questions are always welcome at info@coronariauctions.com

Full title: Carl-Henning Pedersen (1913-2007) and Pierre Alechinsky (1927): 'L'été Indien II, etching and aquatint', ed. 37/90, dated 1993Description:Work: ca. 65,7 x 49 cm Paper: ca. 96,3 x 67 cm Frame: 123 x 95 cm The absence of a condition report does not imply that a lot is in perfect condition. Please contact us to let us know which lots are of interest, so we can make the requested reports for you.Once complete, they will be published on our website.High resolution pictures are already available on our website at www.coronariauctions.com. Further questions are always welcome at info@coronariauctions.com

Full title: A.R. Penck (Ralf Winkler, 1939-2017): 'Romantischer Streit', etching and aquatint, ed. VII/X, [1989]Description:Work: ca. 99,5 x 64 cm Paper: ca. 123 x 98,5 cm Frame: 144,5 x 120,1 cm The absence of a condition report does not imply that a lot is in perfect condition. Please contact us to let us know which lots are of interest, so we can make the requested reports for you.Once complete, they will be published on our website.High resolution pictures are already available on our website at www.coronariauctions.com. Further questions are always welcome at info@coronariauctions.com