The Herdsman’s Cottage
1850. Etching, initialled in plate below image, 11.2 x 9cm. Minor cockling, discolouration. Framed. Ref: Lister, Samuel Palmer & His Etchings, 1969, plate 3, p100. More
1850. Etching, initialled in plate below image, 11.2 x 9cm. Minor cockling, discolouration. Framed. Ref: Lister, Samuel Palmer & His Etchings, 1969, plate 3, p100. More
1859. Colour woodblock, triptych, signed in block in first and third panels, 34.5 x 74.4cm (overall). Minor cockling. Framed. Utagawa Hirokage was a student of Utagawa Hiroshige I. Held in the Art Gallery of Greater Victoria, Canada. Hirokage’s work is represented in British Museum, Library of Congress, and The Met..... More
c1860s. Colour woodcut map comprising six sheets, in original paper wrappers, title and text in Japanese, 71.4 x 143.7cm (overall), 24 x 18.2cm (folded). Slight soiling and wear overall, some foxing and creases to wrappers. Text includes a key to distances of towns from Tokyo, and services available to a...... More
1861. Etching and drypoint, signed and dated in plate centre left, 10.2 x 12.6cm. State viii/viii. From the series Sixteen Etchings of Scenes on the Thames (Thames Set) , 1861. Ref: Kennedy #74. Held in the National Gallery of Australia collection. Whistler was inspired to create the Thames Set after..... More
1862/later printing. Cliché-verre, signed in image lower left, 21.6 x 19.2cm (paper). Minor discolouration and foxing to upper and lower edges of image, slight rubbing, tears and paper loss to corners of border. Ref: Melot #D137. Daubigny, Corot and other artists of the Barbizon school were the first to experiment..... More
c1814/1863. Etching with aquatint, plate number “7” and titled in plate above and below image, 15.3 x 20.5cm. Slight foxing overall, minor cockling, old mount burn. Held in National Galleries, Scotland, with the comment “This print is notable among Goya’s Disasters of War etchings as being one of the few..... More
c1814/1873. Etching with engraving, proof before letters, 21 x 30cm. Minor surface loss to upper portion, slight foxing and stains overall. William Say, who was one of the engravers employed by Turner to work on his Liber Studiorum, executed 11 of the published and two of the unpublished plates. He..... More
1866/1874. Etching, number “246” in plate upper right, artist, publisher, title and printer in plate below image, 16 x 23.9cm. Repaired tear to lower margin. Text reads “Paris, Cadart & Luquet, Editeurs Imp. Delatre, Rue St Jacques, 303, Paris.” This print is the second state of three, prior to the..... More
1877/later printing. Etching, aquatint and drypoint, 21.5 x 32.6cm (image). Minor surface loss to image centre right, trimmed to edges of image, tipped to mount. Plate C from the Disparates (Follies) . Held in the Metropolitan Museum of Art collection. More
1880. Etching and aquatint on chine-collé, 25.4 x 17.5cm (image), 36.3 x 27cm (plate). From Cupid and Psyche (Opus V), plate 41. Ref: Singer #104. Held in Art Institute of Chicago. More
c1883/later printing. Drypoint, 14.6 x 9.9cm. Ref: Thorsen, Rodin Graphics, 1975, plate 13. Held in Metropolitan Museum of Art. More
1860/1890. Etching, 19.2 x 15.1cm. Slight cockling, minor foxing overall. This is one of Manet’s first etchings. It is based on a daguerreotype taken in 1848 by Nadar, a well-known French photographer. The etching was initially intended for an edition of Baudelaire’s articles on Edgar Allan Poe. Ref: Harris #2..... More
c1890s. Colour lithograph, signed in image with text and title lower left to right, 42.4 x 53.5cm. Stains and foxing overall. In original frame. Text includes “Printed in New Zealand by the Brett Printing Company, Auckland.”. More
c1890s-1896. Group of three items concerning kauri gum, which was a major New Zealand export from the end of the 19th to early 20th centuries. The “gum-diggers” were men and women who dug for the kauri gum, a fossilised resin, which was used mainly for varnish, the manufacture of linoleum..... More
1896. Lithograph, signed with butterfly monogram in image upper left, text with date in lower margin, 17.3 x 11.8cm. Repaired tears and minor soiling to margins. Text reads “The Art Journal, March, 1896.” Ref: Levy #159. Little Evelyn is a portrait of one of the five daughters of Whistler’s friend..... More
1896. Four colour lithographs, each signed in image lower right, 31.2 x 14.2cm (approx. each). Cropped calendars, minor foxing. Framed. Designed as the 1897 calendar for Chocolat Masson/Chocolat Mexicain. Each lithograph is missing a top panel with company name, and a lower panel with three calendar months (for winter, autumn..... More
1898. Colour lithograph, 20 x 25.8cm. Slight foxing to image overall. Framed. Provenance: William Weston Gallery. Held in The Met, NY; Art Institute Chicago. More
1898. Colour lithograph, 20.1 x 25.8cm. Minor cockling, fading. Framed. Provenance: William Weston Gallery. Ref: Kornfeld & Wick #20. Held in MoMA. More
c1900. Colour aquatint, printed à la poupée, signed in pencil in lower margin, 40 x 58cm. Minor foxing to margins. René Lorrain, a lifetime resident of Nancy, France, was a student of Gustave Moreauat at the École des Beaux-Arts, Paris. Lorrain first exhibited at a salon in Nancy and then..... More
1901. Mezzotint on chine-collé, title and Jacomb-Hood’s signature replicated in plate upper and lower right, signed by Short in pencil on plate mark below image, 32.2 x 39.2cm. Framed. After a painting by George Percy Jacomb-Hood (British, 1857-1929), commissioned by the Royal Society of Painter-Etchers. Sir Francis Seymour Haden (British..... More
1901. Bound folio of thirty (30) etchings, some with aquatint, all with tissue guards, each etching signed or initialled in plate lower left or right, 43 x 34.2cm. Missing original cloth boards, stains to paper wrappers and frontispiece etching, tears to edges of all pages not affecting image. Published by..... More
c1903. Etching, aquatint and roulette, printed à la poupée, signed in pencil in lower margin, 19.5 x 13.3cm. Crinkles, old glue stains verso. Provenance: James Fairfax estate. Held in Albertina; British Museum (uncoloured). More
1901/1904. Colour lithograph, signed and dated “1901” in image centre right, text including date “1904” and title above and below image, 50.7 x 37.6cm. Slight foxing. Linen-backed. Text reads “Supplement to New Zealand Illustrated, the Christmas number of The Weekly Press, 1904. From the painting by C.F. Goldie, in the..... More
c1905. Drypoint, signed in pencil on image lower left, 53.9 x 33cm. Minor stains and paper loss to image lower right, old mount burn. Paul César Helleu was a French oil painter, pastel artist, drypoint etcher, and designer, best known for his numerous portraits of beautiful society women of the..... More
c1905. Drypoint, signed in pencil on image lower left, 54.2 x 33.1cm. Framed. More