We found 19648 price guide item(s) matching your search

GRACE GARDNER (1920-2013) I must be dreaming. Etching aquatint, artists proof, signed and inscribed in pencil, 11.5 x 24.5cm.

ARR AFTER DAVID HOCKNEY (b.1937) *ARR'French Shop - Alimentation', etching with aquatint in black and red, number 261 of a limited edition of 500, signed and dated (19)71 in the margin, some foxing,62.5 x 55cm. there is foxing throughout and staining. It is framed and glazed. No restoration as far as we are aware. Brought by the current vendor in 1971 from the Observer.

A collection of framed prints, to include: An original studio photograph of 'Stowaway' (1936), Alice Faye, Shirley Temple and Robert Young; After Henry Alken - 'Changing Horses at the Plough' aquatint, 69 x 38 cm; After F.D. Bedford - 'Kerbstone Toy Merchants'; with two hand-coloured lithographs by T.S. Boys after Ruskin - 'Stilted Archivolts' and 'The Ducal Palace' from a set of 16 prints titled 'Examples of the Architecture of Venice' issued as complimentary illustrations to the book: 'The Stones of Venice; Six hand-tinted Baxter-type chromolithographs; Two hand-coloured maps of Gloucestershire, to include J & C Walker; Seven tinted fashion illustrations, a print on canvas of foxhounds, and others (24)

Lucy Willis (b.1954) - 'Kenneggy' (1988), limited edition aquatint, signed, titled and numbered 35/150 in pencil below, 28 x 45 cm, framed

ROBERTSON, Archibald: A Topographical Survey of The Great Road From London To Bath and Bristol. With Historical and Descriptive Accounts of the Country, Towns, Villages, and Gentlemen's Seats on and Adjacent to It. In two parts/ Volumes. Printed for The Author, Charles-Street, St. James’s-Square; and William Faden, Charing-Cross, 1792, 1st. edn. With 65 fine Aquatint plates plus 11 maps (10 are double-page). PP: [4], xvi, 154; viii, 190, [2]. With the half title to Vol. I (not called for in Vol. II), errata leaf present. Cont leather backed marbled boards, rubbed; offsetting from a couple of the plates, otherwise very clean. (2)

After Emil Nolde - 'Lausbuben'  etching & aquatint (1908)  bears a pencil signature  9" x 6.25"  framed

Theodore Casimir Roussel (French, 1847-1926), The Agony of Flowers (1890-1895), softground etching and aquatint, 44 by 35cm, framed. Catalogue Raisonne: Hausberg 45

LUBBOCK, J. G. Perceptions of the Earth, SIGNED limited edition, unnumbered/out of series [one of 70], a presentation copy inscribed & signed by the artist, illustrated with 11 plates produced by engraving, etching, aquatint, and soft-ground etching, the colours applied from intaglio and relief, some with hand-colouring, the typography and printing of the text by Sebastian Carter at the Rampant Lions Press, Cambridge, large quarto, full crushed morocco lettered in gilt, 20pp. text, in fine condition, very well-preserved, clean & bright, vibrant colours, housed in a marbled slipcase, London: Bertram Rota, 1977. Together with Aspects of Art & Science, 4pp. prospectus, [1969], housing two SIGNED etchings, [one of which matches the final plate in Perceptions of the Earth], 33cm x 51cm, one very good & bright, one marked

Thomas Sutherland (British 1785-1838) after Thomas Whitcombe (British c.1752-1824): Battle off Cabareta Point', 'Capture of La Loire', 'Capture of La Vengeance', 'Capture of La Chiffonne' and 'Capture of the Island of Banda', set five aquatint engravings with hand-colouring pub. 'J Jenkins's Naval Achievements of Great Britain' 1816, 21cm x 28m (5)

After Richard Dighton (British 1795-1880) '500£ a Year Will Do for Me and for You' and 'I Von't Take a Farden Less', pair late 18th century aquatint engravings with hand-colouring pub. Bowles and Carver c.1796, 15cm x 12cm (2)

BUCKLAND-WRIGHT, John (illustrator). – Phyllis HARTNOLL. The Grecian Enchanted. [London:] Golden Cockerell Press, 1952. Limited edition, this being number 273 of 360 copies, 4to (311 x 183mm.) 8 aquatint plates by John Buckland-Wright, tissue-guards. (Mild toning.) Original pink and pale blue cloth, t.e.g. (lightly bumped spine ends).

Richard Beer (1928-2017) Spiaggia 4/90, signed, titled, and numbered in pencil (in the margin) etching and aquatint 59 x 78cm, unframed.

Julian Trevelyan (1910-1988) Holy Ganges, 1968 from the suite Indiaartist's proof, signed and titled in pencil (in the margin) etching and aquatint 69 x 51cm.

Robyn Denny (British 1930-2014) "Generations" Signed, dated '78 and inscribed Colour Proof 3 in pencil in the margin, with printer's blind stamp, etching, aquatint and watercolour.52 x 70cm (framed 58 x 76cm)Artists’ Resale Right (“droit de suite”) may apply to this lot.The print is in very good, original condition with no obvious faults to report. The print is framed and glazed.

John Hoyland R.A. (British 1934-2011) "Anking" Signed, dated '79 and numbered P/P in pencil in the margin, with printer's blind stamp, etching and aquatint in colours.plate size 68 x 53.5cm (framed 97 x 72.5cm)Artists’ Resale Right (“droit de suite”) may apply to this lot.The print is in very good, original condition. The paper has yellowed slightly in most areas, and there are a number of minor spots of foxing found across its surface. The print is framed and glazed.

Terry Frost R.A. (British 1915-2003) "Lament for Ignacio Sanchez Mejios" from the Lorca Suite (Kemp 98) Signed and numbered 12/75 in pencil, etching and aquatint.55.5 x 38cm (framed 65 x 46.5cm)Artists’ Resale Right (“droit de suite”) may apply to this lot.The print is in very good, original condition. There are a few very minor spots of foxing found in some places across the sheet. The print is framed and glazed. The frame has one or two minor scuffs commensurate with age.

Rowland Hilder,The Garden of England - near Tunbridge, Kent,signed and numbered 34/75, etching with aquatint,21x24cm.

John Heaviside Clark (c.1771-1863) A view of London from the Adelphicoloured etching and aquatint, c.1824, published by Samuel Leigh, London 21 x 165cm, framed and glazedProvenance: The selected contents of The Old House, Aspley Guise, Bedfordshire.Condition ReportOverall the print is in good condition. Some visible crease marks.

Leon Danchin (1887-1938), A large etching with aquatint depicting three English Setters. Signed and editioned. H.69 W.92cm.

RICHARD SMITH ETCHING AQUATINT - LTD TO 30 - 57CM X 45CM

Louis Legrand (French, 1863-1951), etching with drypoint and aquatint printed in colours, 1901, ‘Bavardage (Chatting)' signed in pencil, 18.5 x13cm. Condition - good

Theodore Lane (1800 - 1828), hand-coloured etching and aquatint - Champagne and Shampoo. Published by George Hunt, 337mm x 215mm, mounted

▲ Sheila Robinson (1925-1988) 'By the Grantham Canal' etching and aquatint, artist's proof, signed and dated 'Sheila Robinson 71' in pencil l.r., inscribed with title and 'proof' l.l.plate 24.5 x 13.5cmCondition ReportFramed; 40 x 29cmLight rippling and a little time staining. Not viewed out of glazed frame.

▲ Bryan Ingham (1936-1997) 'Melancholy Plough' etching and aquatint, signed and dated 'Bryan Ingham, 1978' l.r., inscribed with title and numbered '12/100' in pencil l.l.sheet 50 x 66cm, unframedCondition ReportSlight scattered marks of foxing to the margins starting to appearArches watermark to the left bottom corner

John Bluck (British, 18th - 19th Century), picture is titled Custom House from the River Thames, a hand coloured Aquatint from the early 1800s. In dark green mount, thin wooden frame and under glass. Picture is sized - 29cm x 24cm, 47cm x 43cm overall.

Phil Greenwood (1943-Present, British) Aquatint, 'Spires' signed to the lower right, edition number 33/150. In detailed wooden frame, under clear acrylic glass. 38cm x 42cm, 61cm x 65cm overall.

THE EAST INDIA CO. SHIP LORD LOWTHER LEAVING PRINCE OF WALES ISLAND (PENANG) 'This Plate of the Honble East India Company Ship Lord Lowther, Commanded by CHarles Steward Esq., Leaving the Harbour of Prince of Wales Island', Engraved by E.Duncan after William John Huggins (1781-1845), engraving with aquatint, published May 1st 1828 by Huggins 42 x 56cm, 64 cm x 76 cm including frame Condition: Condition Report Old original colour, sign of a small restoration in the upper central sky to the right of the top of the mast, some light fading to the colours This is an auction of preowned and antique items. Many items are of an age or nature which precludes their being in perfect condition and you should expect general wear and tear commensurate with age and use. We strongly advise you to examine items before you bid. Condition reports are provided as a goodwill gesture and are our general assessment of damage and restoration. Whilst care is taken in their drafting, they are for guidance only. We will not be held responsible for oversights concerning damage or restoration.

Deborah Skinner (b.1944) - Road Near Pointiers, etching and aquatint on wove paper, signed and numbered 59/100 in pencil to the margin, visible sheet 50 x 62.5cm

Dame Laura Knight (Staithes Group 1877-1970): 'Gemini', aquatint signed and titled in pencil, printed by David Strang 1932, 30cm x 25cm

Frederick Christian Lewis the Elder (English, 1779-1856) A pair of etchings after Poussin, in His Majesty's Collection Etching and aquatint Published by L. Chamberlaine, London Property of a gentleman From the collection of Peter Roe Dimensions: 14.25 in. (H) x 16.5 in. (W)  To be sold without reserve

John HENN (British 20th Century) Sancreed Aquatint Signed, inscribed and dated 1973 Artist's proof Framed and glazed Picture size 45 x 29cm Overall size 62 x 45cm

Louis Icart (1888-1950) - Three coloured aquatints - "After the Walk" - Lady returning through a door carrying a bouquet, signed, stamped and dated 1929, 16ins x 19ins, "En Carosse", dated 1953, 13ins x 17ins, , and 'Allegory of Spring', published by l'Estampe Moderne, Paris, signed and dated 1920, numbered 82, 9.5ins x 7.5ins, all framed and glazed Provenance: (For 'En Carosse') - Editions Graphique Gallery, 3 Clifford Street, London, W1, Purchased 22/09/83,  'En Carosse' in in general good condition with no obvious damage/loss/restoration 'Allegory of Spring' also in general good condition with no obvious damage/loss/restoration 'After the Walk' has a tear to the lower part of the aquatint just below the image itself, there is some light spotting around the image but no damage to the image itself. Please refer to condition report images for more detail

Egan (Pierce) Life in London; or, The Day and Night Scenes of Jerry Hawthorn, Esq., first edition, second issue, half-title, hand-coloured aquatint frontispiece and 35 plates by I. R. & G. Cruikshank, 3 folding sheets of engraved music, wood-engraved title vignette and illustrations, tissue-guards (one repaired), bookplate, contemporary ink ownership name to head of title, D2 tear into text with loss to one letter, foxing, mainly to text, occasional light surface soiling, contemporary half calf, rebacked preserving original backstrip, rather crude cloth repairs to joints, rubbed, for Sherwood, Neeley and Jones, 1821 § [Combe (William, imitation)] The Tour of Doctor Prosody...Through Scotland, first edition, hand-coloured aquatint frontispiece and 19 plates, the frontispiece by G. Cruikshank, the others by C. Williams and W. Read, B3 with very small marginal hole, offsetting, some spotting, some light surface soiling and the odd small stain, hinges cracked, contemporary calf, gilt, rebacked preserving portion of original backstrip, extremities rubbed, endpapers renewed, London, Edinburgh & Glasgow, 1821, wear to corners, [Abbey, Life 281 & 277; Tooley 196 & 433]; and others illustrated, most with hand-coloured plates, including another copy of the second mentioned, 8vo (10)

Ireland.- Fisher (Jonathan) Scenery of Ireland Illustrated in a Series of Prints of Select Views, Castles and Abbies, engraved title, list of subscribers and 58 fine sepia aquatint plates by Fisher only (of 60, lacking plates 17 & 39), additional letterpress title dated 1792 bound in before first plate, title and preliminaries water-stained, Introduction leaf with tear into text without loss and repair to fore-edge, some damp-staining and discoloration to margins near start, affecting a few plates, a few instances of very light marking in pencil, [Abbey, Scenery 452], J. Debrett, 1795, bound with A Description of the Lake of Killarney...Being an Appendix to his "Scenery of Ireland", 12 fine aquatint plates by Fisher, p.5 majority of leaf torn away and loosely inserted (no loss), [not in Abbey], for J. Debrett, 1796, together 2 works in 1 vol., tissue-guards (some lacking), some light foxing and soiling, later half calf, one corner renewed, extremities quite worn, repairs to endpapers, oblong folio.  *** One of the rarest and earliest collected views of Ireland. The first mentioned was first issued in 8 parts between January 1792 and January 1795, its success such that it engendered a new wave of tourism to the Irish countryside, with proprietors of some hostelries altering the prospects from their lodgings to best reflect the views depicted by Fisher. The second mentioned is particularly rare; we can trace only a few copies at auction, the last in 2010. 

France.- [Combe (William)] Doctor Syntax in Paris or a Tour in Search of the Grotesque, hand-coloured aquatint frontispiece, title vignette and 17 plates after Thomas Rowlandson, occasional faint off-setting, bookplate, contemporary calf, 5 raised spine bands, richly gilt spine, upper joint skilfully repaired, slight bumping to extremities, 8vo, [c.1820].

John Piper, a collection of books, magazines and other ephemera relating to the artist John Piper (1903-1989), including S. John Woods: 'John Piper: Paintings, Drawings & Theatre Designs 1932-1954', London, Faber & Faber, 1955, 1st edition, aquatint frontis + 4 autolithograph plates, plus 200+ colour and monochrome illustrations by Piper throughout, ex library (no markings to plates or illustrations), large 4to (32 x 25cm), original pictorial cloth gilt, David Fraser Jenkin, 2 titles: 'John Piper in the 1930s: Abstraction on the Beach', 2003, 1st edition, orig. cloth, dust wrapper, 'John Piper The Forties', 2000, 1st edition, orig. cloth gilt, dust wrapper, Anthony West: 'John Piper', 1979, 1st edition, orig. cloth gilt, d/w, plus 4 other hardback books, various exhibition catalogues, two copies of the Architectural Review with either John Piper coveer or article within, 1940's/50's magazines similarly with Piper content, plus a folder of articles and cuttings

André Bicât (French, 1909-1996). A collection of six artists proofs, including "Tuscan Church", 1965-66, etching and aquatint, signed to lower right, 44 length x 32.5cm width, a watercolour and ink print, depicting a hilly terrain with sparse trees, numbered 88/110 to lower left, signed to lower right, 44.5 length x 33.3cm width, 'Autumn wood', print depicting a abstract depicting of trees, signed to lower right, 37 length x 22.5cm width, 'White Flowers', etching, signed to lower right, 28 length x 35cm width, a abstract print of various shapes and colours, 30 length x 36cm width, a abstract colourful print of shapes, 28 length x 45cm width. (6) Provenance: Born in Essex to French and Anglo-Irish parents, Andre Bicat was a painter, printmaker and influential teacher. From 1966-74 he worked as a tutor in the Printmaking Departments at the Royal College of Art and the City and Guilds Art School in London, where he was known as an inspiring and committed teacher. Condition Report: all mounted in frames.

HENRY WILKINSON (1921-2011). Study of a huntsman and hound in a stormy marshland setting, signed in pencil lower left, limited edition etching and aquatint on paper, 100 / 100, framed and glazed, 14 x 20 cm

BERTRAND DORNY AQUATINT, artist proof, signed56cm x 38cm Overall good condition, some minor discolouration around the edge of the image border

‡ NORMAN ACKROYD CBE RA (British, 1938-2024) limited edition (15/90) aquatint - Balmoral Forest, Loch Muick (no.514), signed in pencil, 61 x 90cmProvenance: bought directly from the artist, private collection Vale of GlamorganAuctioneer's Note: Born in Leeds in 1938, Ackroyd attended the Leeds College of Art and then trained at the Royal College of Art where he studied under Julian Trevelyan. Primarily known for his etchings of landscapes, Ackroyd was made CBE in 2007 for services to engraving and printing. Ackroyd continued working into his 80’s, with his final work being completed a month prior to his death in September, aged 86.Comments: framed and glazed, excellent.

VALERIE DANIEL (20TH CENTURY) 'COTTAGE WINDOW'. signed and numbered 48/100 in pencil, coloured etching and aquatint 54 x 40cm.

Man Ray (1890-1976)La Main BleueEtching with aquatint printed in colours, 1971, signed in pencil, numbered from the edition of 100, on Arches paper, with full margins, sheet 655 x 503mm (25 3/4 x 19 3/4in)

Jonathan Lasker (b.1948)Town & CountryEtching with aquatint printed in colours, 2000, signed and dated in pencil, numbered from the edition of 30, on Hanemühle white wove paper, with full margins, sheet 565 x 762mm (22 1/4 x 30in)

Patrick Procktor (1936-2003)CampanulaEtching with aquatint printed in colours, 1989, signed in pencil, numbered from the edition of 75, printed by The Redfern Gallery, London, on wove paper, with full margins, sheet 520 x 680mm (20 1/2 x 26 3/4).

Robert Barnes (British, b.1944), 'Poppy Field', limited edition etching with aquatint, numbered 33/75, titled and signed in plate margin, 42.5x32cm, framed and glazed

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.London: R. Blamire, 1786, two octavo volumes, half-titles, 29 (of 30) aquatint plates, some light foxing and offsetting, full calf gilt, marbled endpapers, extremities rubbed, head and foot of spines fraying with some loss to foot of vol. 2;idem, Observations, Relative Chiefly to Picturesque Beauty, Made in the Year 1776, on Several Parts of Great Britain; Particularly the High-Lands of Scotland. London: R. Blamire, 1789, two octavo volumes, 38 (of 40) plates, some foxing and offsetting, full calf gilt, marbled endpapers, joints split but holding, extremities rubbed, some loss to head and foot of spines, together with:One other Gilpin. (5)

Ken Longcake, two acrylics and a triptych etching/aquatint, acrylic one "Venetian" 33 cm x 33 cm, framed, signed with initials, acrylic two "Rocks and Trees" 35 cm x 35 cm, framed, signed and dated 2005, the etching triptych "Evolution of Landscape-Time" single print no edition, mount size 49 cm x 42 cm.

Kent (William, 1685-1748), After. Perspective View of the Magnificent Gothick Hall at Hampton Court, Built by K. Henry the VIIIth Ano. 1532, engraving by John Vardy, 510 x 330 mm (20 1/8 x 13 in), under glass, tear in the upper right, handling creases, scattered surface dirt, unframed, 1749; together with a good group on nine unframed engraved views of country houses and garden landscapes, including a slightly damaged aquatint illustrating Hackendown Monument, at Kingsgate in the Isle of Thanet, an engraved elevation of Chiswick house, Kip's Lulworth Castle, and others, engravings, various sizes, unframed, [18th and 19th century] (10)Provenance:Collection of John and Eileen Harris

* Havell (R & D) aquatint after Samuel Atkins 'Shakespeare's Cliff, Dover', published by James Daniell 1811, 40cm x 50cm

MYCHAEL BARRAT (b. 1961) “Such Stuff as Dreams are Made On II”, etching/aquatint from the “Shakespeare” series. Signed, inscribed & numbered 31/150 in pencil, 37 x 27cm (image), framed & glazed (54 x 44cm over-all).

VOJTECH PREISSIG (Czech / Bohemian 1873 - 1944) - Evening | 1905 | technique: color etching and aquatint on paper | 365 x 275 mm | signature: bottom right | framed under glass | Lot description | "Evening" from 1905 captures the melancholic atmosphere of the landscape in a minimalist and stylized form that draws on the aesthetics of art nouveau. The painting is characterized by muted earthy tones, simple geometric shapes and a balanced composition. The trees in the foreground appear vertically dominant, while the houses in the background evoke the tranquility and intimacy of rural life. The work "Evening" reflects Preissig's interest in decorative and graphic style, which was significantly influenced by the symbolist and art nouveau tendencies of his time. | condition report*In case of missing photos, please feel free to contact us.

JAN SVANKMAJER (Czech / Bohemian 1934) - Dana masturbation machine (from the Science and Technology series) | 1972 | technique: aquatint, partly colored by hand | 270 x 350 mm (plate impression) | signature: down the middle | framed under glass | condition report*In case of missing photos, please feel free to contact us.

FRANTISEK SIMON TAVIK (Czech / Bohemian 1877 - 1942) - New York at night | 1927 | technique: color etching and aquatint on paper | 435 x 335 mm | signature: bottom right | note: Ref: Novak 462 | framed under glass | Lot description | Frantisek Tavik Simon, an important Czech graphic artist and painter, captured the unique atmosphere of the bustling nightlife on 7th Avenue in his colorful painting "New York at Night" from 1927. The work reflects Simon's masterful mastery of the etching technique and his feeling for the atmosphere of a modern big city. The scene is full of lighting effects and neon signs that evoke the dynamism and energy of New York in the 1920s. Simon perfectly captured the play of lights and shadows and the changing rhythm of urban life, which makes this work extremely attractive to collectors and admirers of interwar art. | condition report*In case of missing photos, please feel free to contact us.

RICHARD TESCHNER (Czech / Bohemian 1879 - 1948) - Botschaft | 1924 | technique: aquatint on paper | 256 x 213 mm | signature: marked in the plate | framed under glass | Lot description | Richard Teschner is one of the prominent figures of Austrian modernism, whose work drew on a subtle combination of Symbolist and Art Nouveau influences. The work Botschaft from 1924 is a typical example of Teschner's specific approach to the combination of painting and theatrical aesthetics, inspired by the puppet theater. In this work, he depicts the figure of an angel carrying a message, which reflects the author's fascination with mysticism and spiritual themes. Subtle details and rich symbolism make Botschaft a powerful work that transports the viewer to a dreamy, timeless world. | condition report*In case of missing photos, please feel free to contact us.

ADRIAN ZINGG (German / Swiss 1734 - 1816) - Landscape near Strekov (Usti nad Labem) | technique: etching and aquatint on paper | 320 x 450 mm | signature: unmarked | framed under glass | Lot description | Adrian Zingg, an important person of Swiss origin, known for his detailed work in the field of landscape painting and graphics, created the work Landscape near Strekov (Usti nad Labem) using the technique of etching and aquatint on paper. Zingg, who worked mainly in Dresden, was one of the founders of romantic landscape painting in Saxony and Bohemia. His work captures the subtle atmosphere of the landscape with meticulous details that highlight the beauty of natural scenery and historical sites. Strekovsky Castle, majestically situated on a rock, evokes the tranquility and timelessness of the landscape, while the figures and vessels in the foreground add liveliness and movement to the image. This work reflects Zingg's influence on the development of 18th century European landscape painting and his ability to infuse scenery with a poetic touch. | condition report*In case of missing photos, please feel free to contact us.

FRANTISEK SIMON TAVIK (Czech / Bohemian 1877 - 1942) - New York - Brooklyn Bridge | 1927 | technique: color etching and aquatint on paper | 350 x 410 mm | signature: bottom right | note: Ref: Novak 460 | framed under glass | Lot description | This color etching from 1927 by Frantisek Tavik Simon captures the nighttime atmosphere on the iconic Brooklyn Bridge with the New York skyline in the background. The work reflects the fascination with modern architecture and the lighting effects of the night city, which Simon became famous for with his refined sense of detail and ability to capture the atmosphere of urban scenery. The characteristic light and reflections of the city windows create a melancholic touch that evokes the life of a vibrant city. Simon's stay in America was reflected in several of his works, which remain iconic depictions of the early 20th century. | condition report*In case of missing photos, please feel free to contact us.

Edward Orme Historic, Military and Naval Anecdotes ..which occured to the Armies of Great Britain and her Allies .. terminating with the Battle of Waterloo. London, E. Orme 1819. Mit wunderbar detaillierten und fein kolorierten Tafeln, die u. a. den britischen Triumph über Napoleon feiern. Erster Druck der ersten Ausgabe mit dem datierten Titel, dem Papier mit Wasserzeichen, datiert 1811 und 1812, sowie den unnumerierten Seiten 95-98. - Mit dem Subskribentenverzeichnis. EINBAND: Roter Halbmaroquinband der Zeit mit Rückenvergoldung. 36 : 28,5 cm. - ILLUSTRATION: Mit 40 handkolorierten Aquatinta-Tafeln nach J. A. Atkinson sowie W. Heath, Manskirch u. a. - KOLLATION: 2 Bll., 94 S., 2 Bll. LITERATUR: Abbey Life 376. - Tooley 353. First edition, first issue with the title dated and paper watermarked 1811-1812. With 40 hand-colored aquatint plates after J.A. Atkinson and others. Contemp. red half morocco with gilt spine. - Spine scraped, edges somewhat bumped. Vollständige Beschreibung und Zustandsbericht https://www.ketterer-rarebooks.de/kunst/kd/details.php?detail=1&anummer=559&obnr=424000472 Dieses Objekt wird regelbesteuert angeboten (R). Complete description and condition report https://www.ketterer-rarebooks.com/details-e.php?detail=1&anummer=559&obnr=424000472 This lot can only be purchased subject to regular taxation (R).

Kathleen Fraser & Sam Francis Boundayr. Santa Monica, Lapis Press 1988. • Eines der wichtigen amerikanischen Malerbücher • Mit 6 Aquatinta-Radierungen von Sam Francis • 1 von 35 Exemplaren • Seltener Luxuspressendruck der kalifornischen Lapis Press 'Silbrige und goldene Akzente bestimmen einzelne Radierungen, während andere vom Zusammenklang der leuchtenden Farben leben.' (Béatrice Hernad) Schöne graphische Illustrationsfolge von Sam Francis und interessante poetisch-künstlerische Zusammenarbeit mit Kathleen Fraser. Francis setzte sich insbesondere Anfang der 1980er Jahre mit der Grafik auseinander, was ihn zu reizvollen experimentellen Arbeiten auf diesem Gebiet führte. Kathleen Fraser leitete während ihrer Lehrtätigkeit an der San Francisco State University von 1972 bis 1992 das Poetry Center und gründete The American Poetry Archives . Von 1983 bis 1991 veröffentlichte und redigierte sie die feministischen Poetik-Newsletters (HOW)ever. 1 von 35 numerierten Exemplaren, im Druckvermerk von Autorin und Künstler signiert. Breitrandiger Pressendruck auf kräftigem Papier, Druck der Grafiken im Atelier Jacob Samuel (Litho Shop Inc.); gebunden von Kl. U. S. Rötzscher. 'The painter Sam Francis founded the Lapis Press in the mid 1980s (or as he himself nonchalantly puts it, 'It's like when you go to buy a dog - he chooses you. You don't have anything to do with it.') The press sees its task as producing not just books but books as handmade artworks..' (Phillips/Zwicker). ' In seinem malerischen und druckgraphischen Werk mißt Sam Francis (geb. 1923) den Farben eine wichtige Bedeutung bei. Die Art seines Schaffens geht z. T. auf Goethes Farbentheorie zurück, mit deren Hilfe der Künstler versucht, die Kräfte der Farben zu fassen. In 'Boundayr' wird diese Absicht besonders deutlich. Die Radierungen bestehen aus sorgfältig abgestimmten Farbflecken, -tupfern und -strichen, die sich organisch auf der Fläche verteilen und sie strukturieren. Silbrige und goldene Akzente bestimmen einzelne Radierungen, während andere vom Zusammenklang der leuchtenden Farben leben. Es entstehen Verbindungen zwischen den Formen und den Farben, die Bewegung und Rhytmus erzeugen. Die graphischen Elemente der Farbradierungen verbinden sich harmonisch mit der Schrift und setzen Text und Bild in ein besonders ausgewogenes Verhältnis.' (Papiergesänge) EINBAND: Weißer Orig.-Umschlag mit blindgeprägtem Deckeltitel, in blauer Orig.-Leinenkassette. 37 : 27 cm. - ILLUSTRATION: Mit 6 farbigen Aquatintaradierungen von Sam Francis. LITERATUR: Lembark 81-86. - Phillips/Zwicker 17. - Papiergesänge 156. - One of the most important American painters' books. Complete series of 6 aquatint etchings, rare de-luxe print from the Californian Lapis Press, from an edition of 35 copies. White orig. wrapper with blind-tooled cover title, in blue orig. cloth case. Vollständige Beschreibung und Zustandsbericht https://www.ketterer-rarebooks.de/kunst/kd/details.php?detail=1&anummer=559&obnr=423000410 Dieses Objekt wird regelbesteuert angeboten (R). Complete description and condition report https://www.ketterer-rarebooks.com/details-e.php?detail=1&anummer=559&obnr=423000410 This lot can only be purchased subject to regular taxation (R).

Florenz Ansichten von Florenz. Um 1830. Schöne und altkolorierte Ansichtenfolge von Florenz, ferner Pisa, Livorno und Siena. Die Sammlung enthält eine Gesamtansicht der Stadt Florenz vom Piazzale Michelangelo aus, 37 Ansichten der wichtigsten Plätze, Denkmäler, Innen- und Außenansichten von Museen und Kirchen in Florenz, 3 Tafeln mit typischen Kostümen, darunter die Confratelli della Misericordia, 5 Ansichten von Pisa, 3 Ansichten von Livorno und 2 von Siena; mit reicher Figurenstaffage in der Mode der 1830er Jahre. - Teils in der Platte handschriftlich in Italienisch bezeichnet. Die Ansichten (Format ca. 14 : 21 cm) mit schwarzer Linie eingefaßt, die breiten Blattränder in Grün oder vereinz. Grau getuscht. - Der italienische Künstler Giuseppe Carrocci schuf laut Le Blanc 594 eine ähnliche Folge von 34 Florenzansichten. EINBAND: Etwas späterer Halbmaroquinband mit Rückenvergoldung und goldgeprägtem Rückentitel Florence – Pise . 25 : 39 cm. - ILLUSTRATION: Folge von 51 kolorierten Aquatintatafeln. Dabei: Vedute di Firenze (Deckeltitel). Um 1820. Album mit 30 kolorierten Aquatintatafeln. Halblederband der Zeit mit etw. Rückenvergoldung und mont. Lederschild auf Vorderdeckel. 21 : 30 cm. - Schöne Folge mit Ansichten der prominentesten und schönsten Gebäude und Plätze der Stadt. Mit Bildunterschrift in Italienisch im unteren Plattenrand. - In den breiten Rändern leicht (stock-)fleckig. Kanten gering berieben, Deckelschild mit Schabspur. Set of 2 early 19th century albums with beautiful views of Florence, as well as few of Pisa, Livorno and Siena. Altogether 51 plus 30 colored aquatint plates. Slightly later half calf resp. contemp. half calf bindings. - Slightly stained or foxed in the wide margins. Edges of bindings slightly rubbed. Vollständige Beschreibung und Zustandsbericht https://www.ketterer-rarebooks.de/kunst/kd/details.php?detail=1&anummer=559&obnr=424000571 Dieses Objekt wird regel- oder differenzbesteuert angeboten. Complete description and condition report https://www.ketterer-rarebooks.com/details-e.php?detail=1&anummer=559&obnr=424000571 This lot can be purchased subject to differential or regular taxation.

William Westall und Samuel Owen Picturesque tour of the River Thames. London, R. Ackermann 1828. Eines der schönsten Bücher über die Aussicht auf die Themse in erster Ausgabe. Die Tour ist in drei Abschnitte unterteilt, der erste von der Quelle des Flusses nach Oxford, der zweite von Oxford nach London und der dritte von London bis zur Mündung in den Ärmelkanal. EINBAND: Roter Halbmaroquinband d. Zt. mit reicher Rückenvergoldung und doppelten goldgeprägten Deckelfileten sowie Kopfgoldschnitt. 35,5 : 23 cm. - ILLUSTRATION: Mit 2 handkolorierten gestochenen Vignetten (1 auf dem Titel), 24 handkolorierten Aquatinta-Tafeln und 1 gefalteten Kupferkarte. - KOLLATION: IV S., 1 Bl., 172 S. LITERATUR: Abbey, Scenery 435. - Tooley 503. - UCBA II, 2129. One of the finest of the Thames views books. The tour is divided into three sections: the first from the river's source to Oxford; the second from Oxford to London; and the third from London to where it joins the English Channel. First edition. With 2 hand-colored engr. vignettes (1 on title), 24 hand-colored aquatint plates and 1 folding engr. map. Contemp. red half morocco with rich gilt spine and double gilt fillets and top edge gilt. 35.5 : 23 cm. - Slightly browned, text with offsetting on plates. Binding slightly rubbed. Vollständige Beschreibung und Zustandsbericht https://www.ketterer-rarebooks.de/kunst/kd/details.php?detail=1&anummer=559&obnr=424000575 Dieses Objekt wird regel- oder differenzbesteuert angeboten. Complete description and condition report https://www.ketterer-rarebooks.com/details-e.php?detail=1&anummer=559&obnr=424000575 This lot can be purchased subject to differential or regular taxation.