A Collecting Legacy: Property from the Collection of Nelson & Happy Rockefeller

The complete portfolio, comprising 22 drypoints, printed in 1951, published in 1952, numbered 7 in ink on the justification, from the edition 50, on various papers, with text by Lincoln Kerstein, printed by Charles S. White, New York, published by Curt Valentin, New York, contained in the original paper folders and cloth covered boards (22 prints)

the dry points of elie nadelman

nancy graves, untitled, pair of etchings, aqu atint and dry point on copper plate, 1988, 51

albany e. howarth (1872-1936), chiddingstone, kent, signed in margins dry point: and the...

Prints and Multiples Online 

Property from an Important Corporate Collection

Property from an Important Corporate Collection RICHARD DIEBENKORN 1922 - 1993 FIVE AQUATINTS WITH DRYPOINT The complete portfolio, comprising five aquatints with drypoint, 1978, each initialed in pencil, dated, numbered 18/35 and inscribed '#1' - '#5' respectively, on Rives wove paper, with the blindstamp of the printer and publisher, Crown Point Press, San Francisco, framed (5 prints) plates: 277 by 200 mm 10⅞ by 7⅞ in each framed: 610 by 419 mm 24 by 16½ in

richard diebenkorn | five aquatints with drypoint

Contemporary Discoveries

Property from the Collection of Arthur C. Danto and Barbara Westman Danto

Property from the Collection of Arthur C. Danto and Barbara Westman Danto William Kentridge b. 1955 Drypoint Typewriter signed in pencil (lower right); inscribed For Arthur + Barbara from William NY and dated 2002 (lower center); numbered 21/28 (lower left) drypoint on wove paper plate: 5⅞ by 7¾ in. (14.9 by 19.6 cm.) sheet: 11 by 12¾ in. (27.9 by 32.5 cm.) Executed in 2003; this impression is presumably one of 28 proofs aside from the numbered edition of 40, published by the LeRoy Neiman Center for Print Studies at Columbia University, New York, and with their inkstamp on the verso.

drypoint typewriter

Prints & Multiples

Vija Celmins b. 1938 Untitled (Ocean Drypoint) signed in pencil, dated and numbered 18/25 drypoint with pencil on Hahnemühle wove paper plate: 10½ by 12¾ in. 268 by 324 mm. sheet: 21½ by 19 in. 545 by 481 mm. Executed in 2016; this impression is number 18 from the edition of 25, published by Simmelink/Sukimoto Editions.

View 1 of Lot 49: Untitled (Ocean Drypoint)

untitled (ocean drypoint)

Important Prints and Multiples Day Sale  

Property from an Important Corporate Collection RICHARD DIEBENKORN 1922 - 1993 FIVE AQUATINTS WITH DRYPOINT The complete portfolio, comprising five aquatints with drypoint, 1978, each initialed in pencil, dated, numbered 18/35 and inscribed '#1' - '#5' respectively, on Rives wove paper, with the blindstamp of the printer and publisher, Crown Point Press, San Francisco, framed (5 prints) plates: 277 by 200 mm 10⅞ by 7⅞ in sheets: 479 by 330 mm 18⅞ by 13⅞ in

Made in Britain Day Auction

Frank Auerbach b. 1931 Six Drypoints of the Nude each signed in pencil the complete set, comprising six drypoints on wove paper each plate: approx. 149 by 147 mm. 5⅞ by 5⅞ in. each sheet: approx. 252 by 210 mm. 9⅞ by 8⅜ in. Executed in 1954; this set is one of a small number of proofs printed by the artist, there was no published edition of this subject.

View 1 of Lot 222: Six Drypoints of the Nude

six drypoints of the nude

Hommage à Aldo Crommelynck: De Picasso à Jasper Johns

Jim Dine b. 1935 Paris Smiles ; Paris Smiles in Darkness ; Retroussage Eiffel Tower ; et Drypoint Eiffel Tower (Quatre œuvres) chacun signé au crayon, daté et numéroté 32/45 quatre eaux-fortes avec pointe sèche imprimées en couleurs sur des papiers vélin Arches et Rives BFK chaque image : 600 x 505 mm. 23⅝ x 19⅞ in. chaque feuille : 910 x 632 mm. 35⅞ x 24⅞ in. Exécutées en 1976, ces épreuves sont numérotées 32 sur les éditions de 45 plus quelques épreuves d'artiste, imprimées et publiées par l'Atelier Crommelynck, Paris. (4 gravures)

View 1 of Lot 400: Paris Smiles ; Paris Smiles in Darkness ; Retroussage Eiffel Tower ; et Drypoint Eiffel Tower (Quatre œuvres)

paris smiles ; paris smiles in darkness ; retroussage eiffel tower ; et drypoint eiffel tower (quatre œuvres)

Contemporary Prints and Multiples Online

Sugarlift aquatint with drypoint, 1978, initialed in pencil, dated and numbered 21/35 (total edition includes ten artist's proofs), on Rives wove paper, with the blindstamps of the printer and publisher, Crown Point Press, San Francisco, framed

aquatint with drypoint halo

the nose drypoint table

Prints

Drypoint, 1985, signed in pencil and inscribed 'AP 7/12', an artist's proof, aside from the numbered edition of 55, on BFK Rives paper, with the blindstamp of the publisher, Gemini G.E.L., with full margins, in good condition, framed

drypoint - ocean surface (second state)

Fifty-four etchings and drypoints, from various dates, impressions from the cancelled plates, from the set of 57 published by The Fine Art Society, Ltd., London, 1879, on laid paper, with margins, loose, with short tears and paper losses along the sheet edges, pale time stain, surface soiling and other minor defects, contained in the original boards; sold as a collection of plates not subject to return (54 prints)

fifty-seven defaced etchings and drypoints: 54 plates

Etching, 1964, initialed in pencil, dated, titled '#34' and numbered 17/25; together with [Woman Reading], etching, 1990, initialed in pencil, dated and numbered 2/15, each with the blindstamp of the publisher, Crown Point Press; together with Alberto Giacometti woman with crossed legs (Lust 182), etching, 1964, signed in pencil and inscribed HC/H, one of 15 lettered HC impressions, aside from the numbered edition of 111, published in the book La Double Vue, each on BFK Rives paper, with full margins, in good condition, framed (3 prints)

#34 from 41 etchings/drypoints (see guillemin p. 120)

Continental and Russian Books and Manuscripts 

a folio of drawings, watercolours and etchings by robert hans schmitt principally of lamu in kenya, as well as port said, shella, wanga, tangawe, dodori, etc. thirty sketches in pencil and pen with black ink, all circa 1914; with eight drypoints of similar subjects; as well as ten watercolours for an earlier expedition to africa, 1897 by the same; together with a small collection of late eighteenth-century coloured prints of the inhabitants of pelew island, kotzebue sound, polynesia, radack, the king of the sandwich islands, three prints after rugendas etc., a collection, various sizes (76)

a collection of late nineteenth- and early twentieth-century etchings and drypoints mainly by german and austrian artists but with a small group of british works by affleck, bentley, brangwyn, sheppard dale (five views in cambridge), gaskell, walcot and walker, approximately one hundred items in all; together with a slightly smaller collection of german and austrian secessionist, symbolist and other turn of the century prints, lithographs, etchings etc. including works by ferdinand andri, fritz berger, a. brömsee, oser graf, ella iranyi, cornelia paczka, ernest peche, robert philippi, hans trudel, and woernle after segatini, approximately thirty, various sizes (approximately 140)

Drypoint and etching, 1965, initialed in pencil, dated, titled, and numbered 6/25, on BFK Rives paper, published by Crown Point Press, Oakland, CA, framed

#29 from 41 etchings drypoints

English Literature, History, Children's Books &amp; Illustrations

 A superbly produced artistic re-mapping of Joyce's great reconfiguration of the “Epic” for the modern era, which itself created a new map of the modernist consciousness.  In Medias Res is a major contemporary artwork celebrating the Centenary of “Bloomsday” in 2004, which accompanied the exhibition of the newly acquired Joyce/Leon papers (with its many recently discovered notebooks of chapters of Ulysses) at the National Library of Ireland in the same year. The etchings reveal both the Dublin of Joyce's novel and the contemporary city, with the title (“In the middle of things”) indicating a work that starts straight into the action without any introductory chapters or special scene-setting, reflecting the all-encompassing nature of the novel. In Medias Res is a dense map, constructed from a multiplicity of drawn marks and viewpoints, packed with references to the topography of Dublin and to plot fragments, characters, anecdotes, conversations, historical events and classical allusions all mentioned or implicit in the text, or figuring in the classical work epic which inspired it. So, for instance, the map “The Quays” features landmarks such as St. Catherine's Church, Christ Church Cathedral, Dublin Castle, the Guinness brewery and the Four Courts while characters such as Leopold Bloom, Blazes Boylan, Lenehan and McCoy, Paddy Dignam and Simon Dedalus all appear, together with references to episodes in Homer's Odyssey. “Coastline” shows Bloom and Gerty Mac Dowell on the strand, the Star of the Sea Church, the fireworks, Poolbeg lighthouse, the map of Sandycove, Bray, Killiney, Dalkey and other landmarks and scenes from Edwardian Dublin; “Eccles Street” depicts the area from Glasnevin Cemetery in the north-west (the scene of '”Hades” in Ulysses) to Connolly Station (formerly Amiens Street Station) , and 'Nightown', reputedly the largest red-light district in the British Empire and the location for Bella Cohan's brothel in the “Circe” episode, in the south-east, as well as No.7 Eccles Street, the home of Leopold and Molly Bloom (and now the site of the Mater Private Hospital); “Howth” shows the Howth Peninsula in the north of Dublin bay (as indicated in the reference to Dublin Bay, Captain Grenville Collins' sea chart of 1693) as well as the Howth tram (the last tram in Dublin, dismantled in 1959, before the new LUAS tram opened in 2004), and (among much else) of course the word “Yes”, the last word of the novel, as Molly Bloom recalls the answer she made to Leopold Bloom's proposal of marriage on Howth Head.

 A superbly produced artistic re-mapping of Joyce's great reconfiguration of the “Epic” for the modern era, which itself created a new map of the modernist consciousness.  In Medias Res is a major contemporary artwork celebrating the Centenary of “Bloomsday” in 2004, which accompanied the exhibition of the newly acquired Joyce/Leon papers (with its many recently discovered notebooks of chapters of Ulysses) at the National Library of Ireland in the same year. The etchings reveal both the Dublin of Joyce's novel and the contemporary city, with the title (“In the middle of things”) indicating a work that starts straight into the action without any introductory chapters or special scene-setting, reflecting the all-encompassing nature of the novel. In Medias Res is a dense map, constructed from a multiplicity of drawn marks and viewpoints, packed with references to the topography of Dublin and to plot fragments, characters, anecdotes, conversations, historical events and classical allusions all mentioned or implicit in the text, or figuring in the classical work epic which inspired it. So, for instance, the map “The Quays” features landmarks such as St. Catherine's Church, Christ Church Cathedral, Dublin Castle, the Guinness brewery and the Four Courts while characters such as Leopold Bloom, Blazes Boylan, Lenehan and McCoy, Paddy Dignam and Simon Dedalus all appear, together with references to episodes in Homer's Odyssey. “Coastline” shows Bloom and Gerty Mac Dowell on the strand, the Star of the Sea Church, the fireworks, Poolbeg lighthouse, the map of Sandycove, Bray, Killiney, Dalkey and other landmarks and scenes from Edwardian Dublin; “Eccles Street” depicts the area from Glasnevin Cemetery in the north-west (the scene of '”Hades” in Ulysses) to Connolly Station (formerly Amiens Street Station) , and 'Nightown', reputedly the largest red-light district in the British Empire and the location for Bella Cohan's brothel in the “Circe” episode, in the south-east, as well as No.7 Eccles Street, the home of Leopold and Molly Bloom (and now the site of the Mater Private Hospital); “Howth” shows the Howth Peninsula in the north of Dublin bay (as indicated in the reference to Dublin Bay, Captain Grenville Collins' sea chart of 1693) as well as the Howth tram (the last tram in Dublin, dismantled in 1959, before the new LUAS tram opened in 2004), and (among much else) of course the word “Yes”, the last word of the novel, as Molly Bloom recalls the answer she made to Leopold Bloom's proposal of marriage on Howth Head.(more detailed descriptions of each map are available on request) On a micro level the viewer of these maps is able to re-create routes taken by various characters as they criss-cross the city on 16th June 1904; but simultaneously the viewer is immersed in the Dublin of other moments in its history, as well as the Dublin of today. And as Joyce parodies different forms of writing in his novel, so In Medias Res contains a variety of types and styles of drawing and mark-making. Furthermore, there are references to historic and contemporary maps, such as John Speed's map of Dublin in the seventeenth century, Michel Etienne Turgot and Louis Bretz's Plan de Paris (1739) and the Isometric Map of Midtown Manhattan, by the Manhattan Map Company in 1989. The artist used not only the text of Ulysses for inspiration, but also historical prints, photographs, maps and manuscripts from the National Library's archives, as well as his own drawings, photographs and experiences of Ulysses and Dublin. The seven individual maps, when displayed according to the geography they depict, link together to make up a large-scale map of Dublin city and its environs spanning some seven metres, teeming with detail and incident.

in medias res (the ulysses maps, a dublin odyssey), suite of seven large intaglio drypoint prints mapping the real and imaginary city of dublin as revealed in the epic journeys of stephen dedalus and leopold bloom in the narrative and multi-layered references of joyce's great master-work ulysses, set on 16th june 1904, prints entitled “phoenix park” (680 x 760mm.), “the quays” (785 x 1170mm.), “o'connell street” (1200 x 830mm.), “eccles street” (845 x 1110mm.), “loop bridge” (1080 x 660mm.), “howth” (580 x 620mm.) and “coastline” (690 x 1170mm.), no.4 of a limited edition of ten sets signed and numbered by the artist, each hand-printed on an etching press from zinc plates on 350gsm, natural, hahnemuhle etching paper, each print with occasional additions of chine collé and watercolour applied by the artist, limerick: tabula press, 2006

Property from the Raymond and Patsy Nasher Collection

the complete portfolio, comprising five aquatints with drypoint, 1978, each initialed, dated and numbered 35/35, each with the blindstamp of the publisher, Crown Point Press, with full margins, in good condition, framed, together with the grey linen-covered portfolio case. 5 works.

five aquatints with drypoint

DUTCH MODERNISM: The Schiller-David Collection of Symbolism, Art Nouveau and Art Deco 1880-1930

depicting two young females and an old woman, signed and annotated eerste proefje van etsen 1895 in the plate, the first of twenty-five posthumously printed copies, numbered 1/25 in pencil, framed

jeugd en ouderdom der vrouw, a drypoint etching by jan toorop1895

S/O Rosekrans

Folio (20 1/2 x 14 in.; 520 x 355 mm).  28 fine drypoint engravings by Dine, plate and text on Rives BFK.  Quarter dark green morocco, spine lettered in gilt, pale green cloth covers.  Box covered in pale green cloth and with bas-relief cast in bonded bronze by Ron Dillow on lid of box and with gilt-lettered green morocco onlay; some slight fading to box.

Folio (20 1/2 x 14 in.; 520 x 355 mm).  28 fine drypoint engravings by Dine, plate and text on Rives BFK.  Quarter dark green morocco, spine lettered in gilt, pale green cloth covers.  Box covered in pale green cloth and with bas-relief cast in bonded bronze by Ron Dillow on lid of box and with gilt-lettered green morocco onlay; some slight fading to box. Copy 58 of 150 numbered copies (of a whole edition of 175), signed by Dine.  With an extra print on chine collé from the second state of the frontispieces, signed and numbered, in a printed folder.  This copy a presentation copy, inscribed by Dine for Dodie Rosekrans on the title-page. The poetry accompanying the plates includes work by John Ashbury, James Schuyler, Thom Gunn, Frank O'Hara, and others.

jim dine, illus. the temple of flora: twenty-eight drypoint engravings; with botanical notes compiled and poetry selected by glenn todd and nancy dine. san francisco: arion press, 1984

N08786

The set of fifty-seven etchings and drypoints, from various dates, impressions from the cancelled plates, published by The Fine Art Society, Ltd., London, 1879, on laid paper, bound in the original boards (57 prints)

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