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Lot 307
Lionel Lindsay (1874-1961) Etching with drypoint on paper 'A bridge Estremadura, 1926', signed in pencil, with plate tone, from the edition of 75 artist's proofs, published by P. & D. Colnaghi, London, Eveling & Tress label to frame verso, plate size 17.5cm x 25cm, framed and glazed (39 x 47.5 cm), together with Hendrik 'Rik' Frans Schaefels (1827-1904) etching on paper 'Longboats at Arnemuiden, 1882', signed within plate 'Rik Schaefels', image size 14cm x 21.5 cm), framed and glazed (35 x 43.5 cm) (2) A bridge Estremadura, Mendelssohn 388. A trial proof of this print is held in the National Gallery of Victoria, Australia - Accession Number 1021-4.
Lot 528
A QUANTITY OF ASSORTED PRINTS ETC, to include two Turner prints, a Wilfred C. Applebey drypoint etching of 'The General Hospital Birmingham', signed and titled to lower margin, an oil on board signed R. Goodyear depicting a square rigged ship, approximate size 25cm x 29cm, an early 20th century Japanese mixed media painting depicting Mount Fuji and boats on the water, prints of Sevres porcelain, reproduction map of Staffordshire, assorted prints etc, Some prints have damaged and or dirty frames
Lot 64
Sir Muirhead Bone NEAC, RE (Scottish 1876-1953) 'Lifting an oil tank into a train ferry' Drypoint and signed in pencil to margin Muirhead Bone was appointed the first official war artist, serving with Allied forces on the Western Front and for a time with the Navy. Glasgow born Bone contributed his ‘On the Clyde’ series to a publication of lithographs produced for the Great War: ‘Britain’s Efforts and Ideals’. These 66 prints were produced by the British government in 1917 artistic propaganda with the aim of encouraging a war-weary public and raising support for the war effort. Bone returned to his role as War Artist in 1940 during the Second World War.
Lot 1081
Artist: Alexander Archipenko (Ukranian-Russian-American, 1887 - 1964). Title: "Kneeling [unrecorded signed lifetime impression]". Medium: Original drypoint. Date: Composed 1920. Dimensions: Overall size: 15 x 10 11/16 in. (381 x 271 mm). Image size: 7 x 5 in. (178 x 127 mm).Pricing: Starting Price: $3,000 Reserve Price: N.A. Auction Sale Price Estimate: $4,000/5,000Lot Note(s): Signed in pencil, lower right. Not editioned in Archipenko's lifetime. Cream wove paper. Full margins (deckle edges all four sides). Fine impression; printed in brown ink. Very good condition. Literature/catalogue raisonne: Karshan 4. Provenance: The estate of John and Valere Butterwick, Kewanee, Illinois. Comment(s): Exceedingly rare, perhaps unique, proof. Unknown to Karshan. As he states,"Kneeling is the second drypoint of only three that the artist executed ["Kneeling," "Bending," "Angelica"]. The original copper plates [of these three] were discovered by the artist's widow in 1966 at his atelier in Woodstock, New York. These plates were in sufficiently good condition to permit posthumous editions to be printed, since only one life-time proof was known of "Bending," two of "Angelica," and none of "Kneeling." These three editions were printed in New York by Miss Judith Foster in 1967, under the supervision of the artist's estate." Donald Karshan, "Archipenko: The Sculpture and Graphic Art." Tubingen: Ernst Wasmuth, 1974, pg. 75. Image copyright © Estate of Alexander Archipenko / Artists Rights Society (ARS), New York. [25193-4-3000-NA]
Lot 1434
Artist: Pierre Bonnard (French, 1867 - 1947). Title: "Toilette". Medium: Original drypoint. Date: Composed 1927. Printed 1927. Dimensions: Overall size: 10 1/8 x 7 13/16 in. (257 x 198 mm). Image size: 8 5/8 x 6 1/4 in. (219 x 159 mm).Pricing: Starting Price: $400 Reserve Price: N.A. Auction Sale Price Estimate: $500/600Lot Note(s): Stamped lower right; signed with the initials in the plate, lower center; stamped verso. Cream wove paper. Full margins. Fine impression with good plate tone and pronounced platemark. Very good condition; crease upper right corner, not into image. Literature/catalogue raisonne: Francis Bouvet, “Bonnard: The Complete Graphic Work” #107; Terrasse/Floury 59. Provenance: Ex-collection Marty Gordon (the legendary print dealer), Martin Gordon, Inc., New York City, his handstamp verso. Comment(s): Scarce. This print was authorized by Bonnard, printed under the immediate supervision of Charles Terrasse (Bonnard’s nephew) by D. Jacomet & Cie, Paris, and published by Henri Floury, Paris. Image copyright © Artists Rights Society (ARS), New York/ADAGP, Paris. [29368-1-400-NA]
Lot 902
James McNeill Whistler (1834 - 1903), St James's Street, 1878, etching and drypoint on ivory laid paper, state 4/4, Kennedy 169, Mansfield 165, plate 27.5cm x 15cm, framedGenerally good condition with very slight paper discolouration, no foxing or tears, mount lightly foxed and discoloured, original frame with original backboard and untouched backing tape, never been out of this frame
Lot 7
SALVADOR DALI (SPANISH, 1904-1989) - 'Vivian and Lancelot', drypoint printed in colour, signed in pencil and numbered 7/20, marked E.A. (epreuve d'artiste), framed, plate size 39cm x 26cm, frame size 57cm x 41cm. NB - This is one plate from 'La Quête du Graal', a suite of twelve drypoints, published in 1975.
Lot 20
Roderic O'Conor (1860-1940) Landscape with Trees near an Estuary Etching and drypoint, 19.2 x 27.3cm (7½ x 10½'') Signed and dated (18)'93Original plate sold Hôtel Drouot, Paris 17/11/1975, lot 172, this restrike by Paul Prouté c.1981 Provenance: With Galerie Prouté, Paris Literature: J. Benington, 'Roderic O'Conor', Cat. No. 428, p.236
Lot 556
* ELYSE ASHE LORD RI (BRITISH 1900 - 1971), UNKNOWN limited edition hand coloured etching on paper, signed and numbered 57/100 mounted, framed and under glass image size 28cm x 23cm, overall size 39cm x 32cm Note: Elyse Ashe Lord was a watercolourist and drypoint etcher who favoured exotic and Far Eastern figure subjects, often treated in delicate or imaginative colours. Little is known about her early life although she held her first important solo exhibition of 70 drawings at the Brook Street Gallery in 1921 and in the following year was elected a member of the Royal Institute of Painters in Water Colours. She was also a member of the Society of Graver-Printers in Colour. She exhibited actively from 1915 to 1939, showing at the Royal Academy, Royal Institute of Painters in Water Colours, Royal Scottish Academy, Walker Art Gallery, Liverpool, Fine Art Society, Lefevre Gallery and at the Paris Salon, where she gained a silver medal for colour prints. Alexander Reid issued much of her work in book illustrations including 'The Arabian Nights'. In 1990 Cyril Gerber Fine Art held an exhibition of her work. She lived in Bexley, Kent. Her work is represented in the collections of the British Museum and Victoria & Albert Museum.
Lot 554
* ELYSE ASHE LORD (BRITISH 1900 - 1971), UNKNOWN limited edition hand coloured etching on paper, signed and numbered 47/100mounted, framed and under glassimage size 28cm x 23cm, overall size 38cm x 31cm Note: Elyse Ashe Lord was a watercolourist and drypoint etcher who favoured exotic and Far Eastern figure subjects, often treated in delicate or imaginative colours. Little is known about her early life although she held her first important solo exhibition of 70 drawings at the Brook Street Gallery in 1921 and in the following year was elected a member of the Royal Institute of Painters in Water Colours. She was also a member of the Society of Graver-Printers in Colour. She exhibited actively from 1915 to 1939, showing at the Royal Academy, Royal Institute of Painters in Water Colours, Royal Scottish Academy, Walker Art Gallery, Liverpool, Fine Art Society, Lefevre Gallery and at the Paris Salon, where she gained a silver medal for colour prints. Alexander Reid issued much of her work in book illustrations including 'The Arabian Nights'. In 1990 Cyril Gerber Fine Art held an exhibition of her work. She lived in Bexley, Kent. Her work is represented in the collections of the British Museum and Victoria & Albert Museum.
Lot 804
VLAMINCK MAURICE DE: (1876-1958) French Painter, one of the principal figures of the Fauve movement. A good A.L.S., `Vlaminck', one page, 4to, on his « La Tourilière Rueil-la-Galière, Eure & Loire » printed stationery, n.d. [Juillet 1928], to Monsieur Guiot, in French. Vlaminck refers to the engravings sold to his correspondent, stating `Par le même courrier je vous fais parvenir les deux paquets gravures signées. L´une : Le carrefour à Sotteville-Les-Rouen. L´autre : La place du marché à la Ferté. Vous serez aimable de me faire parvenir le montant convenu par chèque barré´ («By the same shipment I send you the two signed engraving packages. One of them containing: The Crossroads at Sotteville-Les-Rouen. The other one containing: The Market Square in La Ferté. You will be kind enough to send me the agreed amount by crossed cheque ») Very small tear to the left edge, otherwise G to VG Marcel Guiot was a French Editor and Art Dealer, owner of a well-known gallery at 4 rue Volney in Paris.The engravings mentioned in the present letter are `La Ferté-Alais, Place du Marché´ (1928), and `Le Carrefour de Sotteville-Les-Rouen´ (1928), both being drypoint etchings.
Lot 181
Two pictures of Amsterdam The first Harry Moleiyaak, a canal scene, oil on canvas, signed lower left; the second Cornelis Brandenburg, Ledischegracht, Amsterdam, etching and drypoint, print, signed and titled to the lower margin.The first 39cm x 58cm. The second 35cm x 43cm to the plate mark.Qty: 2The first sits loosely in its frame, the frame in need of repair. Some surface dirt and some cracking to the painted surface.The second with notable toning and foxing throughout.
Lot 1083
Two etchings by George and Eileen Soper The first a timber team stuck in a rut, drypoint etching, signed to the margin 'George Soper'; the second a figure reading by the shoreside, drypoint etching, signed 'Eileen Soper'.The first 23cm x 35cm to the plate mark. The second 14cm x 20cm to the plate mark.The first with slight warping to the paper and somewhat notable mountburn. The second with warping to the paper and notable mountburn.
Lot 181
Louis ICART (1888-1950) Mignon. 1928. Aquatint etching and drypoint in colour signed lower right, dry stamp LI, one press and numbered E202, Copyright in the plate 1928 upper left, published by Les Graveurs Modernes. Normal wear - Weight: 3.20 kg - Shipping unavailable - Sizes: H 800MM X L 600MM AVEC CADRE / H 530MM X L 360MM
Lot 439
A folio of approx. 20 British prints, early 20th c and later, including Robert Sargent Austin RA, PPRWS, PPRE (1895-1973) - Landscape, signed in pencil, etching, 15.6 x 23cm, Harry George Webb (1882-1914) - Battersea Reach, signed in pencil, further signed and titled within the plate, etching, 15.5 x 19cm, English School, second-half 20th c - Profile Study, monogrammed LM and numbered 1/1 in pencil, drypoint etching and aquatint, 28 x 37.5cm; and two framed etchings Good, mixed condition. The framed prints unexamined out of their frames.
Lot 463
Rembrandt Harmensz van Rijn (1606-1669) - The Artist's Mother, head-and-bust length, three-quarters right, signed with monogram: RHL [Rembrandt Harmensz Leydensis] and dated 1628 (2 transposed) within the plate, second state, etching and burin drypoint, on laid paper without watermark, sheet 7.1 x 6.9cm, plate mark 6.6 x 6.3cm, [B. 354; Hind 1; New Hollstein 5 ii/iv] Provenance: 1) Faint collector's stamp to verso, early-mid 19th c; almost certainly E.F. within an circle and if so, Eduard Faesch (1812-1845), a Kiel merchant and art collector (L.846). His stamp is noted 'found not only on prints, but also on good drawings (e.g. by Rembrandt)', as many international institutions' collections demonstrate. 2) Contemporaneous and later pencil manuscript inscriptions, to verso of sheet and mounting. Roelof van Straten states this early etching by Rembrandt is one of the first to be signed by the artist with his RHL monogram. The backward "2" is indicative of Rembrandt's incomplete control of the plate's reversal during the printing process. 'The subtlety of modelling and the extensive vocabulary of descriptive strokes suggest an unexpected level of graphic sophistication for an etching of such an early date. [...] The Fact that Rembrandt signed and dated this etching indicates that although he may have initially undertaken the project as an exercise, he ultimately decided to market it. [...] [A] print that shows [...] technical mastery or subtlety of stroke' (Rosenberg, Rembrandt's Religious Prints, 2017, p. 438-39). Please see online images. A clean and even impression. Each corner with blemishes of varying degrees, presumably from former mounting, and now, in places, affecting the image within the plate mark. When examined on a lightbox, the lower-left corner margin appears thinned, but is OK and structurally sound; also, the sheet shows browned portions not generally visible in natural light. The indistinct collector's stamp could be a result of being washed. Currently hinge-mounted to a sheet of annotated card.
Lot 451
Lieutenant Rowland Langmaid RN, RA (1897-1956) - Billingsgate from the Pool, London, signed in pencil, blind-stamped academy proof, titled label to verso, n.d. [c. 1920-30], drypoint etching, 32 x 25cm Good condition, but for two spherical marks/blemishes within the plate. Unexamined out of frame.
Lot 13
James McNeill Whistler (American, 1834-1903). Etching and drypoint on laid paper titled "Billingsgate" depicting crowds gathered around sailboats, ca. 1859. Signed and dated in print along the lower center. With a certificate of authenticity from Merrill Chase Galleries; numbered C25602.Provenance: Merrill Chase Galleries; Private Minnesota Collection.Reference: Kennedy 47.Plate; height: 6 in x width: 9 in. Sheet, sight; height: 6 3/4 in x width: 9 1/2 in. Framed; height: 17 3/4 in x width: 21 3/4 in x depth: 1 1/4 in.Condition: The sheet is toned. There is a spot of foxing in the lower margin. There are no visible tears, creases, losses, or restorations. Slight undulation to the sheet. Housed under an acidic mat. Framed under glass; light wear to the frame. Not inspected out of frame.
Lot 307
Roland Batchelor RWS (1889-1990) - Pub Garden Invaded by Pan, drypoint etching, signed, titled and numbered 18/40 in pencil to the margin, bearing gallery label verso, visible sheet dimensions 12 x 17.5cmA slight wave to the sheet. No tears, holes or creases. No staining, fading or discolouration.Some dirt trapped under glass, a few minor knocks to the frame.
Lot 262
§ Henry Moore OM CH FBA (1898-1986) - Storm at Sea, etching and drypoint on Rives paper, signed and numbered 34/50 in pencil to the margin, printed by Atelier Lacourière et Frélaut, Paris, published by the Henry Moore Foundation, Much Hadham, 1974, visible sheet dimensions 16.5 x 25.5cmThe sheet has a slight wave to it.No tears, holes or creases.Colour of both image and sheet are good.Overall in good original condition.
Lot 540
Oleg Kudryashov, Russian 1932-2022 - Untitled, Plate #440, 1983; watercolour and drypoint etching, signed, titled, dated and number in lower margin '82 1/1 n 440', 11.4 x 8.6 cm (image) Provenance: with Francis Graham-Dixon Gallery, London; private collection, London, purchased from the above in 2001
Lot 508
Edmund Blampied RBA, RE (Jersey, 1886-1966) Study for 'The White Horse'; The White Horse (Appleby 81) Two, the former signed E.Blampied (lower centre), the latter signed E. Blampied (in pencil to margin) The former pencil, the latter drypoint, from an edition of 100 21.4 x 26.1cm; 20.1 x 25.2cm (plate), framed as one (2)
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5891 item(s)/page