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Click here to subscribeArthur Boris Klein (Boris O'Klein) (1893-1985) Etching and aquatint Seven etchings from the 'Dirty Dogs of Paris' series, to include "W.C. Privie!", "Sus Aux Curieux", "A La Queue", "Tu Viens Beau Blond", "Eternal Enemies", "Comme Nos Maitres" and "Chacun Son Tour", each signed and titled in pencil within margin, framed and glazed, image size 20.5cm x 48.5cm (7)
CRICKET INTEREST; a collection of engravings, signed photographs and score cards including aquatint print 'Cricket match at Balmoral between Abergeldie and Balmoral teams', 15 x 23.5cm, mounted and unframed, print of Jack Hobbs, a signed photograph of Graham Gooch, a century test match case First Day Cover, two further prints, etc.
SLAVERY -- "TRAITE DES NÊGRES. Quel contrat infame, (…)". Paris, Depeuille, n.d. (c. 1800). Plain aquatint by Rollet after Morland. 405 x 517 mm. -- "REVENGE TAKEN BY THE BLACK ARMY for the Cruelties practised on them by the French". N.d. (c. 1805). Engr. by Barlow after Rainsford. 240 x 177 mm. (Small hole in image). -- "INCENDIE DU CAP FRANÇAIS, le 20, 21, 22 et 23 Juin 1793 (…)". N.d. (c. 1800). Engr. by Berthault. 195 x 231 mm. -- Added: "THE INDIANS ASTONISHED at the Eclipse of the Moon foretold by Columbus". Cold. engr. taken from Drake's 'Voyages'. 196 x 255 mm. -- And 20 o. prints dep. i.a. forced labour in slavery. (24).
SOUTH AFRICA -- HOWEN, O.Chr. v.d. & J. SMIES. Zuidafrikaansche gezichten. Amst., Maaskamp, n.d. (1811). 1 letterpress leaf w. descriptions and 4 (of 4) large aquatint views by L. Portman w. letterpress captions underneath, all cold. by hand, each 350 x 440 mm (image size). Fol.-obl. Loose in mod. hcf. box. -- Added: an original watercolour drawing which is either an original by Von der Howen & Smies after which the print was made, or it is a meticulously executed copy of the print; it has exactly the same size, but differs from the print in some details.NOTE: Very rare set of the so-called 'Alberti prints', originally intended as an accompaniment to Lodewijk Alberti's 'De Kaffers aan de Zuidkust van Afrika' (i.e. the first ethnographic monograph which appeared in the Netherlands!). The original drawings were apparently made on the spot by Baron de Howen, worked up by Smies in Amsterdam and then engraved and aquatinted by Portman. Otto, Baron de Howen (1774-1848) was a Russian-born artillery officer (Kurland), while Jacob Smies, known chiefly as a caricaturist, was a professional artist. Von der Howen became adjutant to King Louis Napoleon of Holland and was in Spain between 1811 and 1814. During the Belgian rising of 1830, he defended the city of Mons, but was defeated and became a prisoner. In the Netherlands he was appointed lieutenant-general of the Dutch army and in 1831 city commander of Nijmegen (Netherlands) which he remained until his death.
WEST INDIES -- "LE FORT ROYAL dans l'isle de la Martinique. Vu du Mouillage" - "LE PORT St. George, dans l'isle de la Grenade. Vu du côté de l'Est" - Paris, Gouaz Graveur, n.d. (c. 1780). 2 plain engr. harbour views after N. Ozanne by J.-F. Ozanne, captioned in the plates. 210 x 350 mm. (Somewhat soiled, but in v.g. condition). -- "VUE DE L'ETABLISSEMENT des missions à St. Johns dans l'Isle d'Antigoa aux Indes occidentales" - "VUE DE GRACEHILL dans l'Isle d'Antigoa (…)" - "VUE DE CEDARHALL dans l'Isle d'Antigoa". - Basel, Birmann & Fils, n.d. (c. 1835). 3 aquatint views (first 2 mentioned in colour) after L. Stobwasser. 192 x 280 mm (image size). -- (5).
This etching and aquatint on paper by Japanese artist Shoichi Hasegawa, titled Castle in Fog (Chateau dans le Brouillard), was created in 1971. The composition features a dreamlike castle emerging from an atmospheric background, blending architectural elements with Hasegawa's signature delicate linework and ethereal color palette. Executed in a style that merges Eastern aesthetics with European modernist influences, the work demonstrates the artist's mastery of intaglio techniques. The soft greens and earthy hues, combined with intricate linear details, create a sense of depth and mystery. Hand-signed by the artist in pencil in the lower right and titled in the lower center, the piece is numbered II/XXX.Artist: Shoichi Hasegawa (Japanese 1929-2023) Issued: 1971Dimensions: 32.25"L x 28.50"HCountry of Origin: JapanCondition: Age related wear.
A finely executed aquatint on paper after Lev Tchistovsky depicting a reclining nude woman, rendered in soft washes of color and heightened with detailed shading to mimic watercolor technique. This romanticized portrait captures the refined style often associated with Russian artist Tchistovsky, known for his academic and sensuous portraits of women. The work bears his name on the lower right. Along the upper edge is the publisher's mark: Octave Bernard, Directeur de l'Estampe Moderne, 44 rue de Richelieu, Paris. Framed under glass in a gold giltwood frame.Artist: After Lev Tchistovsky (Russian 1902-1969) Issued: 20th centuryDimensions: 27.50"L x 22.50"HCountry of Origin: RussiaCondition: Age related wear.
Thomas Daniell, R.A. (1749-1840) and William Daniell, R.A. (1769-1837), South East View of Fort St George, Madras, hand coloured aquatint, plate 7 from the second series of Oriental Scenery, published by T. Daniell, London, 1798. , glazed and framed,73x 53cm.Provenance: Formerly in the collection of cotton merchant Peter Dixon (1753-1832). Peter, a merchant from Whitehaven, ran Langthwaite Cotton Mill in Carlisle and lived in Tuille House, a converted Jacobean mansion. His heirs continued to run and expand the business after his death in 1832 finally closing the business in 1885. Fort St George was the earliest fortified settlement of the East India Company in south India, the fort being begun in 1640. It was, however, completely unprotected from the sea until the construction of a protected harbour in the late 19th Century; ships had to anchor in the roads and land their passengers and cargoes by means of small boats. Simple wooden boats called masula were used to transport people and goods through the heavy surf and then boatsmen would carry the passengers ashore on their shoulders.
Thomas Daniell, R.A. (1749-1840) and William Daniell, R.A. (1769-1837) View in the Fort of Tritchinopoly (Abbey Travel 420, no. 47) handcoloured aquatint, from Oriental Scenery, published by T.Daniell, London, 1798framed and glazed,54 x 73.6cm.Provenance: Formerly in the collection of cotton merchant Peter Dixon (1753-1832). Peter, a merchant from Whitehaven, ran Langthwaite Cotton Mill in Carlisle and lived in Tuille House, a converted Jacobean mansion. His heirs continued to run and expand the business after his death in 1832 finally closing the business in 1885.
GRAHAM SUTHERLAND O.M. (BRITISH 1903-1980) CLEGYR BOIA I (FRONTISPIECE TO 'SIGNATURE' MAGAZINE), 1938 etching and aquatint on paper, edition of approximately 1000 and some Artist's Proofs 19.5cm x 14.2cm (7 ¾in x 5 5/8in) The Collection of Gillian Raffles. Literature:Douglas Cooper, The Work of Graham Sutherland, 1961, p. 69, pl.4a, as ‘Welsh Landscape’ and incorrectly dated 1936; Felix H. Man, Graham Sutherland: das graphische Werk 1922–1970, 1970, no. 37, as ‘Clegyr-Boia, a landscape in Wales’.
DELTA (BELKNAP 255)Aquatint printed in brown and black, 1981, on wove paper, signed and dedicated for Ruth and Hans Kleinschmidt from their friend in pencil, a proof aside from the edition of 48, published by the artist and released by Petersburg Press, London and New York, with full margins, framed.Plate 17 5/8 x 23 1/2 inches; 448 x 597 mm.Sheet 27 3/8 x 33 1/8 inches; 695 x 841 mm.Frame 32 3/4 x 38 5/8 inches; 832 x 981 mm.Provenance:Gift from the artist to Dr. Hans and Ruth KleinschmidtDescended through the family to the present owner
LYSISTRATA (BLOCH 267-272; CRAMER BOOKS 24)Complete portfolio of six etchings (the first with aquatint), 1934, on Rives BFK paper, signed in pencil and numbered 368 in red crayon on the justification, fron the edition of 1500, with complete text, printed by Lacourière, Paris, published by The Limited Editions Club, New York, with full margins, bound (as issued) with original boards and slipcase.Sheets 11 3/8 x 8 7/8 inches; 289 x 225 mm.Including: SERMENT DES FEMMES; COUPLE ET ENFANT; CINESIAS ET MYRRHINE; DEUX VIEILLARDS ET VOILIER; ACCORD ENTRE LES GUERRIERS DE SPARTE ET D'ATHENES; LE FESTIN
CRAPAUD LYRE (DUPIN 389)Drypoint and color aquatint, 1965, Rives BFK paper, signed and numbered 28/75 in pencil, published by Maeght, Paris, with full margins, framed.Plate 19 x 22 7/8 inches; 483 x 581 mm.Sheet 25 x 34 5/8 inches; 635 x 879 mm.Frame 36 1/2 x 38 7/8 inches; 927 x 987 mm.Pale matstain, unobtrusive printer's ink or minor soiling at sheet edges, some pinpoint foxing mainly discernible at left and right just inside the platemark, framed with glass.
TRIPTYCH (LEFT PANEL) (SEE SABATIER 4) Color etching and aquatint, 1981, on Guarro paper, signed and numbered 80/99 in pencil, printed and published by Ediciones Polígrafa, Barcelona, with full margins, framed.Plate 15 3/8 x 11 5/8 inches; 391 x 295 mm.Sheet 25 3/8 x 19 5/8 inches; 645 x 498 mm.Frame 27 1/4 x 21 1/4 inches; 692 x 540 mm.
CELUI QUI DIT LES CHOSES SANS RIEN DIRE (CRAMER BOOKS 99)Color etching and aquatint, 1975, on Japon Impérial paper, signed and numbered 15/25 in pencil, from the same-titled portfolio, printed by Lacourière and Frélaut, Paris, published by Maeght, Paris, with full margins, framed.Plate 15 5/8 x 11 3/4 inches; 397 x 298 mm.Sheet 18 1/2 x 14 3/8 inches; 470 x 365 mm. Frame 27 1/8 x 23 1/8 inches; 689 x 587 mm.Pale matstain, a few foxing spots, an unobtrusive small diagonal crease at bottom right sheet corner, framed with acrylic.
PREPARATIFS D’OISEAUX (DUPIN 365)Color etching and aquatint, 1963, on BFK Rives paper, signed and inscribed HC in pencil, an hors commerce aside from the edition of 75, printed and published by Maeght, Paris, with full margins, framed. Plate 8 1/8 x 10 3/8 inches; 206 x 264 mm.Sheet 19 x 22 3/4 inches; 483 x 578 mm.Frame 19 1/2 x 23 1/4 inches; 495 x 591 mm.Some unobtrusive pale discoloration at sheet edges and verso, some unobtrusive tiny foxing spots in the margins and verso, light abrasion at sheet corners verso, framed with glass.
Estate / Collection: Collection of Dr. Ellyn Berk and Raymond HeslinLE CLOCHER DE SAINT-TROPEZ (KORNFELD/WICK 17)Etching and aquatint printed in brown, 1896, on cream laid Arches paper, signed, numbered tiré à 15 ep. no. 5 in pencil, also signed with initials and dedicated in ink, with full margins, framed.Plate 8 1/2 x 5 3/8 inches; 216 x 137 mm.Sheet 17 1/2 x 11 7/8 inches; 445 x 302 mm.Frame 22 1/2 x 18 3/4 inches; 572 x 476 mm.Provenance:David Tunick, Inc., New YorkNo condition report? Click below to request one.*Any condition statement is given as a courtesy to a client, is an opinion and should not be treated as a statement of fact and Doyle New York shall have no responsibility for any error or omission. Please contact the specialist department to request further information or additional images that may be available.
PRIÉRE DE TOUCHER--LE SURRÉALISME EN 1947 (SCHWARZ 523)Multiple of foam rubber breast, velvet, and printed label mounted to a removable cover from an illustrated book with eighteen lithographs, four etchings (two with aquatint), two woodcuts, one photogravure, and one ready-made object, 1947, the justification stamp numbered 206, from the edition of 950), edited by André Breton, printed by Mourlot Paris, published by Pierre à Feu (Maeght Éditeur), Paris, in the original slipcase.9 1/2 x 8 1/8 inches; 241 x 206 mm.Including: Victor Brauner, Max Ernst, Jacques Hérold, Wifredo Lam, Joan Miró, Hans Bellmer, Marcel Jean, Maria, Yves Tanguy, Dorothea Tanning, Jean Arp, Serge Brignoni, Alexander Calder, Bruno Capacci, Elizabeth van Damme, Julio de Diego, Enrico Donati, David Hare, Jacqueline Lamba, Roberto Matta, Kay Sage, Yves Tanguy, and Toyen (Marie Cermínováen)Some discoloration and wear
After John Hoppner (1758 - 1810)"Her Royal Highness Princess Sofia", a portrait of the Princess with her hair fashioned in full ringlets and a posie of flowers in her hand, as she radiates a sweet, youthful demeanor, aquatint tinted engraving, first published by Her Majesty's engraver Caroline Watson, 1786, bearing an 1805 newspaper extract from The Times mounted verso, in Hogarth frame under glass, 29 cm x 24 cm overall[Hoppner was born in Whitechapel, London and was a portrait painter who drew much inspiration from Sir Joshua Reynolds. After showing a strong interest in art throughout his early life he began studying at the Royal Academy in 1775, and he was awarded a silver medal for life drawing in 1778 before being decorated with the Academy's highest award; the gold medal for historical painting, in 1782. Hoppner first exhibited at the Royal Academy in 1780 and continued to show examples of his work there for many years.]
Damian Hirst (British b.1965)Ciclopirox Olamine (2004)signed in pencil, numbered '42/145' verso etching with aquatint in colours, on wove paper, published by The Paragon Press, London plate 86 cm (diameter), framed and glazed 127 x 124 cm Sheet appears to be in good condition. Light surface and handling dirt is visible to the extreme upper and left edges of the sheet. Creasing is visible to upper left and lower left corners, and to the centre of the lower edge. Under glass and unexamined out of frame.
Sandra Millar Untitled Oil on paper Signed and numbered/dated 14 Framed W48cm x H59cm Provenance : Private Collection Note : Sandra Millar studied at Edinburgh College of Art and Goldsmiths College. Her prints focus on people and their relationship with each other and the space that surrounds them. Sandra explores the possibilities for linear and tonal contrasts that the mediums of etching, aquatint and drypoint offer. She has exhibited regularly since 1993 and her work is in private collections in this country and abroad. ARR may apply
Charles Bartlett (1921-2014) signed limited edition etching and aquatint - 'Morning Mist', 18/60, unframed 51cm x 61cmIt was rolled when it arrived with us and is still slightly rolled at the ends. The old tape marks have slightly stained the top two corners but a mount would hide this. Please see additional image.
Rare 19th century game - Edward Wallis (publisher): Wallis's New Game of Wanderers in the Wilderness, folding hand-coloured aquatint pictorial map of South America, total size of playing board 66 x 51cm, with later handwritten directions for the dice adventure game and contained within original gilt titled slip case
THREE LATE 20TH CENTURY PICTURES, comprising a Jamie Bruce Lockhart watercolour 'Beach Huts and Valley Farm 1998', approximate size 19cm x 28cm, a W.S. Kime watercolour of Stowe Pool and Lichfield Cathedral and a David Suff etching with colours 'Venice Afternoon' with Christie's Contemporary Art certificate verso, together with a John Brunsdon (1933-2014) 'Beachy Head' limited edition aquatint etching depicting a coastal landscape, signed, titled and numbered 29/100 to lower margin, approximate size 40cm x 40cm including margins, Condition Report: the print is in good condition, frame is marked and scratched in places (4)
Myriorama- Grunewald: Neues grosses Myriorama, oder die kunst tausende von landschaften zu schaffen: Grande nouvelle Myriorama, ou L'art de prodruirre de mille pansages. Hand-coloured aquatint cards numbered 1-10, in the original titled pictorial slipcase. Small damage to the slipcase; Plus: Five children's miniature books: Times table/Alphabet; Nursery Rhymes/School reports/School register; Arithmetic book; Writing book; & Drawing book. Fine copies; PLUS; 14 colour lithograph cards - children at various activities; PLUS: one other.
BURGIS, J (Pub.): HELLENICORAMA; or, GRECIAN VIEWS. L, J Burgis, 1825. Complete 24-panel Myriorama with hand coloured aquatint scenes- The Acropolis, Plain of Marathon, Parnassus & Corinth; together with a 16-page booklet with a folding frontis plate and few small hand coloured text illustrations. Housed in the original box with a hand coloured plate to inside of the lid. The box needs attention, otherwise in very good condition.
ALKEN, Henry & BARENGER, James (ill): The Sporting Repository, containing Horse Racing, Hunting, Coursing, Shooting, Archery, Trotting and Tandem Matches, Cocking.. Contains all six numbers (All Published), Bound in One Volume. L, Thomas McLean, 1822, 1st. Edn. With all 19 beautiful hand-coloured aquatint plates. 540pp. Later full leather with gilt decoration & lettering to spine, gilt ruling to boards, elaborate gilt inner dentelles and top edges gilt. With the Armorial bookplate of 'Sir William Bass, Bart' and the morocco name plate of 'Alfred Barmore Maclay' to front pastedown. A beautiful copy. Provenance: The Collection of David and Sandy Fuller
Pocock, William Fuller: Architectural Designs for Rustic Cottages, Picturesque Dwellings, Villas, &c. with Appropriate Scenery, Plans and Descriptions. To which are added some critical observations on their Style and Character; and also.. L, J. Taylor at the Architectural Library, 1807, 1st. edn. Folio, PP: vii, (i) blank, 36, + 33 sepia aquatint plates. Half leather over marbled boards. Occasional spotting. Provenance: The Collection of David and Sandy Fuller
ACKERMANN (publisher): A collection of over 140 COLOUR AQUATINT PLATES of Seats from his 'Repository of Arts, Literature, Commerce, Manufactures, Fashions and Politics', dated between 1824 and 1828. Bound in one volume, c19 half leather, rubbed. A few plates with tears and repairs, the majority are fine; PLUS: Ford, John: Ackermann, 1783-1983. L, Ackermann, 1983, 1st. Edn. Presentation copy, SIGNED by John Ford, Alfred Gates & one other? Beautifully bound in full leather with raised bands, gilt inner dentelles, marbled endpapers, a.e.g. And slipcase. A fine copy. (2)Provenance: The Collection of David and Sandy Fuller
Roberto Matta - 4 AM from L'Arc Obscure des Heures, 1975Etching and aquatint on wove paper, signed in pencil & numbered /125. Publisher: Multiplicata S.A., Chiasso, 1975. Ref.: Ferrari 105. Good condition, 63.5 x 91.4 cm.Eau-forte et aquatinte sur papier vélin, signée au crayon et numérotée /125. Éditeur : Multiplicata S.A., Chiasso, 1975. Réf. : Ferrari 105. Bon état, 63,5 x 91,4 cm.
Antoni Clavé - Trois points, 1976Aquatint in colors with carborundum on wove paper, signed in pencil and numbered 152/170. Ref.: Passeron 364. Good condition, 65.5 x 50 cm.Aquatinte en couleurs au carborundum sur papier vélin, signée au crayon et numérotée 152/170. Réf. : Passeron 364. Bon état, 65,5 x 50 cm.
Y Dame Elizabeth Blackadder O.B.E., R.A., R.S.A., R.S.W., R.G.I., D.Litt (Scottish, 1931-2021), "Autumn Kyoto Notebook", signed in pencil, ed. 17/30, etchings with aquatint, overall, 18cm by 151cm, in a perspex box frame. Provenance: Mercury Gallery, Cork St., London, exhibition label May 1998. Note: this lot may be subject to A.R.R.
Polargebiete - - James Weddell. A Voyage towards the South Pole, performed in the years 1822-24. Containing an Examination of the Antarctic Sea ... and a Visit to Tierra del Fuego, with a particular account of the Inhabitants. Mit kol. Frontispiz in Aquatinta, 8 (6 gefalt.) gestoch. Tafeln sowie 6 (2 gefalt.) Aquatinta-Tafeln mit Seestücken mit Schiffen, Küstenprofilen u.a. London, Longman, Hurst u.a., 1824.95. iv, 276 S. (kl. Errata-Bl. mit eingeb.). 8°. Marmor. HLdr. d. Zt. mit RVerg. u. goldgepr. RSchild (berieben, tls. etw. fleckig, 1 Gelenk angeplatzt, Rücken, Ecken u. Gelenke tls. restauriert). Erste Ausgabe. - Sabin 102431. - Renard 1680. - Hill 1843. - Rosove 345.A1. - Spence 1246. - Weddells Expedition bereiste und erforschte die Kapverdischen Inseln, die Südlichen Orkney-, die Südlichen Shetland- und die Südgeorgischen Inseln, überwinterte auf den Falkland-Inseln und beschrieb Feuerland, Patagonien und Montevideo. Während ihrer Fahrt nach Süden erreichten sie den niedrigsten Breitengrad, der bis dahin aufgezeichnet worden war. Dieses erforschte Gebiet trägt heute den Namen "Weddellmeer". - Spiegel mit gestoch. Wappen-Exlibris von Joseph F. Duckett, tls. etw. braun- u. stockfleckig, Frontispiz etw. fleckig u. mit kl. Schabstelle, Seitenschnitt mit produktionsbedingten, minimalen Quetschfalten, sonst insg. gut erhalten. Polar regions. - First edition. With hand-coloured aquatint frontispiece, 8 engr. maps (6 folding), and 6 (2 fold.) plates with coastal profiles, ships a.o. - Bound with errata sheet. - Weddell's expedition travelled to and explored the Cape Verde Islands, the South Orkney Islands, the South Shetland Islands and the South Georgian Islands, wintered on the Falkland Islands and described Tierra del Fuego, Patagonia and Montevideo. During their journey south, they reached the lowest latitude that had ever been recorded. This explored area is now known as the 'Weddell Sea'. - Inner board with armorial bookplate of Joseph F. Duckett, occ. somewhat brownstained and foxed, frontisiece somewhat stained and with small abrasion, pages with production-related minimal creases at the edges, otherwise overall good.
Jagd - - nach D. Wolstenholme. Fox Hunting: The Start, The Find, The Chase, and The Death. 4 großformatige kolorierte Aquatinta Drucke von R. Reeve nach D. Wolstenholme. 1806. 53 x 39,5 cm. Je unter Passepartout montiert und in Lwd. Album mit goldgepr. Titel gebunden (berieben und bestoßen). Selten. - Die komplette Reihe mit den 4 Drucken nach Gemälden des britischen Malers Dean Wolstenholme. Die Drucke wurden von dem britischen Künstler Richard Reeve (1780-ca. 1835) angefertigt und veröffentlicht. - Die Drucke zeigen die jeweiligen Phasen der Fuchsjagd und sind in kräftigen Farben koloriert. Im Vordergrund stehen die Jäger auf ihren Pferden, sowie deren vierbeinige Gehilfen. Von der ersten Szene, welche die Ruhe vor der Jagd zeigt, zu den Hunden, die im Rudel losziehen und im letzten Bild den gejagten Fuchs umkreisen um ihn zu fangen. Die prachtvollen Bilder vermitteln gekonnt die Spannung der Jagd. - Mit leichten Randläsuren. Insgesamt sehr gut erhaltene Drucke. Hunting. - 4 large-format coloured aquatint prints by R. Reeve after D. Wolstenholme. Each mounted under passepartout and bound in Lwd. Album with gilt title (rubbed and bumped). - Rare. - The complete series with the 4 prints after paintings by the British painter Dean Wolstenholme. The prints were made and published by the British artist Richard Reeve (1780-ca. 1835). - The prints show the respective phases of the fox hunt and are coloured in vivid colours. In the foreground are the hunters on their horses and their four-legged assistants. From the first scene, which shows the calm before the hunt, to the hounds setting off in a pack and, in the last picture, circling the hunted fox to catch it. The magnificent images skilfully convey the excitement of the hunt. - With slight marginal tears. Overall a very well-preserved print.
Francisco de Goya. (1746 Fuendetodos - 1828 Bordeaux). Chiton. ca. 1799. Radierung und Aquatinta auf Velin. 19 x 13 cm (30,5 x 23 cm). In der Platte bezeichnet "Chiton". Harris 63, IV-XII. - Francisco de Goyas Radierung "Chiton" stammt aus seiner berühmten Serie "Los Caprichos", die 1799 veröffentlicht wurde. Diese Sammlung von 80 Radierungen ist eine satirische und oft düstere Auseinandersetzung mit der spanischen Gesellschaft des späten 18. Jahrhunderts. Das Motiv von "Chiton" zeigt eine verschleierte Frau, die mit dem Finger auf den Mund deutet - eine universelle Geste des Schweigens. Der Titel selbst ist eine Aufforderung zur Verschwiegenheit und kann in verschiedene Richtungen interpretiert werden. Zeitgenössische Kommentare zu Los Caprichos deuten darauf hin, dass sich die Szene auf eine geheime Intrige oder eine subtile Warnung vor den sozialen Gepflogenheiten der Zeit bezieht. - An den Rändern gebräunt und mit einigen kleineren Läsuren. Einige wenige punktuelle Fleckchen, auch verso. Insgesamt sehr gut mit hervorragendem Druck. Etching and aquatint on wove paper. Inscribed "Chiton" in the plate. - Harris 63, IV-XII. - Francisco de Goya's etching "Chiton" comes from his famous series "Los Caprichos", which was published in 1799. This collection of 80 etchings is a satirical and often gloomy examination of Spanish society in the late 18th century. The motif of "Chiton" shows a veiled woman pointing her finger at her mouth - a universal gesture of silence. The title itself is a call for secrecy and can be interpreted in various ways. Contemporary commentaries on Los Caprichos suggest that the scene refers to a secret intrigue or a subtle warning about the social conventions of the time. - Browned in the margins and with some minor losses. A few pinpoint stains, also on the verso. Overall very good with excellent impression.
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