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Lot 59
Motor Racing Graham Hill signed book. Fantastic condition hardback book of "Life at the Limit" the autobiography of Graham Hill, signed by the legendary motor racing driver Graham Hill (1929 - 1975) in bright blue ink on the title page. He was a two time Formula One World Champion and one of the most charismatic drivers to ever grace the sport. Lovely piece of F1 history. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99
Lot 306
WW2 Six Battle of Britain pilots signed 10 x 8 dog fight colour print. Signed by G W Benn 219 sqn, John Keatings 219 sqn, Trevor Gray 64 sqn, Graham Leggett 46 sqn, Richard Jones 64 sqn and Peter Ayerst. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99
Lot 549
Antonio Zucchi (Italian, 1726-1795) Peasants beside ruined arches by a river estuary Pen and black ink and wash over black chalk on paper Signed lower left, 'Zucchi' With original panel to verso indistinctly inscribed, '... (?) ... Drawn by Zucchi ... (?)' and label inscribed, '... Graham...' Property of a gentleman Provenance: Yvonne Tan Bunzl, London Dimensions: (Frame) 16.5 in. (H) x 22.5 in. (W) (Paper) 12 in. (H) x 18 in. (W)
Lot 388
Cleo and John: A biography of the Dankworths by Graham Collier Hardback Book First Edition. Unsigned. Includes signed letter from the Dankworths by Cleo and John. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99
Lot 448
Dennis Clarke, Tony Brown, Ian Collard and Graham Lovett 16x12 football signed colourised photo, Autographed Editions, Limited Edition. Photo Shows the quad holding aloft the FA Cup Final for West Bromwich Albion after defeating Everton in the Final in 1968. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99
Lot 200
GRAHAM (RIGBY) Kippers & Sawdust, published by THE OLD STILE PRESS, 1992, numbered 60/150, signed by the artist, full natural linen covered boards, line drawing inlaid to upper board, title in gilt to back strip, fore-edge uncut, endpapers with three-colour woodcut illustrations, four double-page woodcuts in four to six colours, five single-page woodcuts in three colours, line illustrations printed in green throughout, housed in a slipcase covered with green paper, with a large woodcut that spans the whole.Auctioneer's Note: The Old Stile Press in Monmouthshire was started by Frances and Nicolas McDowall in 1979. Well known internationally for the quality of their books. Books are designed and printed by Nicholas McDowall, working collaboratively with the artists. All the printing is letterpress and leaf printing, and using wood blocks, wood engravings and lino blocks. The Old Stile Press is a well-known private press and publishing house that specializes in creating limited-edition, finely crafted books. Founded by British printer and publisher Nicolas McDowall in the early 1980s, the Old Stile Press is highly regarded.Provenance: private collection Vale of GlamorganComments: minor shelf wear to the underneath of the slipcase
Lot 198
GWASG GREGYNOG: ‘Pennant and his Welsh landscapes - Selected readings from A Tour in Wales (1778-1784)’, edited by Gwyn Walters, with woodcuts by Rigby Graham, 2006, quarter yellow leather, limited edition (105/150), purple slipcaseProvenance: private collection GwyneddComments: immaculate edition from an immaculate collection, unused and still in retail wrapping
Lot 1381
FERNAND MOURLOTSouvenirs et portraits d’artistes. Jacques Prévert: Le coeur á l’ouvrage. Paris/New York: Mazo/Amiel 1972. 32,3 x 25,3 cm. Mit 24 (von 25; 18 farb., 1 doppelblattgr.) OrLithographien verschiedener Künstler. 245 SS., 1 nn. S., 3 Bll. Lose Bogen in OrUmschlag und OrLn.-Kassette mit Rt.(Umschlag leicht gebrauchsfleckig. Es fehlt die OrGraphik von Miró.)Nr. 354 von 800 Ex. auf Vélin d'Arches. - Freundschaftsbuch der bedeutendsten französischen lithographischen Anstalt des 20. Jahrhunderts. - Mit OrLithographien von Maurice Brianchon (L’Arlequin), André Masson (Le départ), André Beaudin (Feuilles évadées), Apel·les Fenosa (Tramontane), Maurice Estève (Alalito), Henri Matisse (Studie für das Buch „La Religieuse Portugaise“), Paul Guiramand (Intérieur), Kostia Terechkovitch (Cavalier tunisien), Georges Braque (Profil de femme [M. 25]), André Derain (Buste de femme [1950]), Pablo Picasso (Le seigneur et la dame [M. 322]), Paul Jenkins (Composition pour Eric; doppelblattgr.), Jean Cocteau (Manuscrit), André Minaux (La femme et l’oiseau), Jacques Villon (Portrait d’une jeune fille), Marc Chagall (Bouquet pour Fernand), Giacometti (Fleurs), Bernard Buffet (Les ombelles), Paul Wunderlich (Torso sur une pierre bleue), Paul Delvaux (Confidences), Victor Vasarely (Beryll), Alfred Manessier (La tache rouge), Charles Lapicque (Le chant des oiseaux) und Graham Sutherland (Hybrid). - Es fehlt das Farblitho von Joan Miró "Jaillie du calcaire".
Lot 2
GRAHAM SUTHERLAND (1903-1980) | LETTER ADDRESSED TO PROFESSOR LUDVIK BARTAK (ENGLAND / ENGLISH) | 1965 | profession: Painter | country: England | signature: Original signature | size: 310 x 260 mm (size of the pad) | technique: Typewritten letter on headed paper | Lot information | Typewritten letter on La Villa Blanche letterhead, signed by British painter and printmaker Graham Sutherland.The letter is addressed to Professor Ludvik Bartak from Czechoslovakia and discusses the difficulties of providing original drawings due to a contractual restriction with his dealer.Sutherland mentions the possibility of offering a lithograph as an alternative.
Lot 132
Greene (Graham) The Lawless Roads, first issue with yellow map endpapers, photographic plates, original cloth, spine gilt, marks to covers, dust-jacket, price-clipped, spine browned, tips frayed, joints a little rubbed, but a very good example overall, 8vo, 1939. *** The Lawless Roads is Greene's account of his 1938 trip to Mexico, a visit that would also provide the basis for The Power and the Glory.
Lot 1493
Michael Graham Bilton (Cumbrian, contemporary)"Red Summer", an abstract depiction of the artist's environs, vibrant colours conveying the unusual heat of the season, mixed media, signed, in card mount and silvered frame under glass, 95 cm x 75 cm overall, together with Thank You card from the artist on purchase[Michael was born in Cambridge and spent most of his life in Leicestershire where he was the head of Foundation Studies at Loughborough College of Art and Design, and worked as an abstract artist part-time. He discovered his love for the Swaledale landscapes when travelling through the area, and it soon became his key source of inspiration. When given an opportunity for an early retirement, he chose the Dales without hesitation and continues to paint the surrounding landscapes on large canvases, working mainly in oil paints. He has exhibited in a number of galleries across the UK including the York Art Gallery and the Bowes Museum and has previously been recognised by the Royal Academy.]
Lot 2460
CRADOCK, (Fanny), Something's Burning, The Autobiography of two cooks, first edition, London, Putnam, 1960, together with Venus in the Kitchen, or Love's Cookery Book, introduction by Graham Greene, first edition, Heinemann Ltd, 1952, also James Beard's Fish Cookery, London, Faber & Faber, In a Persian Kitchen, published in Japan,1960, also Dr. E.A.Maury, Wine is the Best Medicine, French Country Cooking by Elizabeth David, and Alexander Watt, Paris Bistro Cookery, (7)
Lot 423
Graham Farish, Lima and Similar N Gauge mixed group of boxed and unboxed wagons and Coaches to include Graham Farish Ref. 377-529 20t Brake Van in Grey & Yellow Dutch Livery plus others (see photo). Conditions are Fair to Excellent (some items are slightly damaged) in Fair to Excellent boxes and sleeves.
Lot 406
Graham Farish by Bachmann N Gauge DMUs - Two pairs of 371-325 Class 150/1 'First North Western' 2 Car DMU. One set in cases, no sleeve, one set unboxed. Some sides have minor oil or grease stains. Conditions: varies from Fair to Good and Excellent to Excellent Plus, Where relevant, in Excellent Plus case.
Lot 424
Graham Farish & Dapol with some items specifically produced for the N Gauge Society N Gauge group of boxed Wagons and Coach to include Graham Farish Exclusive to N Gauge Society Ref. 374-875T EWS Maroon & Gold Inspection Saloon plus others (see photo). Conditions are Excellent to Excellent Plus in Good to Excellent boxes.
Lot 280
Doctor Who and Peppa Pig: A small collection of actor, David Graham’s personal memorabilia – Peppa Pig: British pre-school animated television series (2004-) Four Original draft Scripts for unreleased episodes, Karrotone Limited,unbound, 9-pages, stapled, titles include: 'Caring For Grandpa!' (2022) by Philip Hall, Draft two; Sticks, Bells and Ribbons (2022) by Jen Upton and Philip Hall, Draft three, 9-pages, with printed yellow highlights to Grandpa Pig's lines and yellow text for singing parts; Hospital Sleepover (2022) by Philip Hall, Draft two, 9-pages; Houseboat (2022), by Matilda Tristram and Philip Hall, Draft three, 9-pages, with line count of all characters to cover page, and yellow printed highlight for Grandpa Pig's lines; Magnets (2022) by Phil Hall and Seyi Odusanya, Draft five, 9-pages, with line count of all characters to cover page, and yellow printed highlight to Grandpa Pig's lines;Peppa Pig (2021) black Production crew T-shirt with Peppa Pig characters to front and Peppa pig character and text, ‘The Elf Factory’ on reverse, label reads, ‘Fruit of the Loom, size M’; David Graham signed photograph of Grandpa Pig, 10 x 8 inches; Peppa Pig, Afternoon Tea, Brigit’s Bakery thermal cup; Peppa Pig Thank You card, with a further Dalek drawing in pen, sent to David Graham to thank him for his work on Doctor Who: The Daleks in Colour (1963) ‘To Dear David, Just a quick note to say thank you for recording our Dalek voices last week. Very much appreciated!. All best wishes/ Mark & Ben’;Doctor Who: The Complete History: The Crusade, The Space Museum, The Chase and The Time Meddler, signed photograph by Maureen O'Brien and Paul Purves,10 x 8 inches; Doctor Who The Complete History: Farewell Great Macedon and The Son of Dr. Who, Peter Purves autographed photograph, signed in gold marker pen, 10 x 8 inches; Doctor Who: The Gunfighters (1966) Shane Rimmer signed photograph, dedicated in silver pen to David Graham, ‘Dear David, You're always getting in the picture/ love Shane R’, 8 x 10 inches; Doctor Who, The Daleks, 33 RPM mini album CD, 21st Century Records; Doctor Who: The Dalek and the Cyberman; a pair of collectors cards. (11)Provenance:The Collection of the late David Graham (1925-2024) who was an English actor and voice-artist best known for his portrayals of numerous classic Gerry Anderson supermarionation characters, Grandpa Pig in Peppa Pig, the Daleks in Doctor Who, and other early television series including, The Avengers, The Saint and Danger Man.Following service in the Royal Airforce as a radar mechanic, David Graham trained at the Neighbourhood Playhouse School of Theatre, New York and later, recommended by director, Michael Blakemore, he auditioned for Laurence Olivier’s theatre company, eventually appearing alongside him in Saturday Sunday Morning (1978) using an Italian accent.Graham’s long association with British producer, director and writer, Gerry Anderson began in 1958 and he went on to become the voice of many of Anderson’s characters throughout the 1960s including, his debut puppet roles, Grandpa Twink and Fernando, in Four Feather Falls, Dr. Beaker, Zarin and Mitch the Monkey in Supercar, Mat Matic and Lieutenant Ninety in Fireball XL5, various guest characters in Stingray, and Johnny in Crossroads to Crime.His most well-known role would come in Thunderbirds with his portrayal of Aloysious ‘Nosey’ Parker (whose voice he based on a waiter at the King’s Arms pub in Cookham), alongside his other regular roles as the voices of aquanaut Gordon Tracy, International Rescue engineer Brains, and the Tracy family’s faithful manservant Kyrano.
Lot 100
Paranormal interest. A collection of vintage reference books on British ghosts and spectres. The lot to include A Bottomless Grave and Other Victorian Tales of Terror ed. Hugh Lamb, Ghosts of Cornwall by Peter Underwood, Burke & Hare - The Year of the Ghouls by Brian Bailey, The Maul and the Pear Tree - The Ratcliffe Highway Murders 1811 by T. A. Critchley & P. D. James, Haunted Houses by Joseph Braddock, Haunted Churches of England - Ghosts Ancient and Modern by Graham J. McEwarn, Witchcraft out of the Shadowsds by Leo Ruickbie, A Natural History of Ghosts - 500 Years of Hunting for Proof by Roger Clarke, Haunted Britain by Anthony D. Hippisley Coxe, The Encyclopaedia of Ghosts and Spirits by John and Anne Spencer, and Britain's Haunted Heritage by J. A. Brooks. Those issued in smart dust wrappers, a spooky collection. 8vo.
Lot 180
Blackwood (Algernon) Pan's Garden. A Volume of Nature Stories, first edition, signed presentation inscription from the author to George A. Van Nosdall to frontispiece recto, frontispiece and illustrations by W. Graham Robertson, 12pp. advertisements, some very light edge-spotting and light browning to endpapers, original pictorial cloth, very slight fading to spine, light rubbing and slight bumping to spine tips and corners, slight rubbing to extremities, an excellent copy, custom morocco-backed slip-case, [Tymn 3-35], 8vo, 1912.
Lot 41
ROBERT POLHILL BEVAN (BRITISH 1865-1925) SMITHY BARN, BOLHAM - 1919 Lithograph, from the edition of 40, signed in pencil, with the stamped monogram the sheet 28.5cm x 44.5cm (11.25in x 17.5in), unframed Estate of the Artist; and thence by descent to the present owner. Literature: Dry, Graham, Robert Bevan 1865-1925: Catalogue Raisonné of the Lithographs and other Prints, The Curwen Press, London, 1965, another example from the edition repr. b/w no. 26Note: According to Graham Dry, this work was drawn the stone in the artist’s Hampstead studio and was printed by Vincent Brooks Day & Son under the artist’s supervision.‘Lithography was a very important part of his artistic expression. He found it a very suitable medium for his skills . . . At all times he loved the feel of lithographic chalk and the handling of it on the smooth stone’ - Robert Alexander Bevan, the artist’s son, 1968We are delighted to present a group of eight lithographs by Robert Polhill Bevan, which come from the Artist’s Estate and thence by descent to the present owner, in our Prints & Multiples sale of 26 March 2025. Consisting of four of his celebrated London horse images and four of his attractive rural scenes, each reveals his love of and technical brilliance in the medium of lithography.Bevan was born in Hove, Sussex in 1865 and grew up in Horsgate, near Cuckfield. He studied at Westminster School of Art, London and at the Académie Julian in Paris. His training during the 1890s also included two periods in Pont-Aven in Brittany – where he met Paul Gauguin – as well as time spent in Madrid and Tangier. He was a member of the Fitzroy Street, Camden Town, London and Cumberland Market Groups, founded in London between 1907 and 1914. In 1897, Bevan met and married the Polish artist Stanislawa de Karlowska (1876-1952). Three years later they moved to 14 Adamson Road, London, which remained their base for the rest of Bevan’s life. The couple became key figures in London’s art world before and after the First World War and held popular ‘at homes’ on Sunday afternoons during the 1910s.Printmaking was an important part of Bevan’s artistic practice. He used lithography early in his career but turned away from the medium in 1901. After 17 years Bevan returned to lithography with aplomb at the end of the War. A work like The Plantation, 1922 (lot 44), shows his mature mastery of the technique, along with a simplification of form, angular structure and clarity of composition. He brought this sensibility to all his landscape prints, capturing the essence of English villages and Polish homesteads in images including The White House, 1921 (lot 43), A Polish Homestead, 1922 (lot 42) and Smithy Barn, Bolham, 1919 (lot 41).Bevan was a highly-skilled horseman and his images of horses are amongst the most celebrated of his oeuvre. He would sketch during the horse sales in London, where he enjoyed the interaction between people and animals as much as the pace and spectacle of the event. This interest expanded into his printmaking practice and can be seen in lithographs such as Horse Dealers (Ward’s Repository No.1) (lot 38), The Horse Mart (Barbican No. 1) (lot 37) and Horse Dealers at the Barbican (Barbican No.2) (lot 39) produced from 1919 to 1921. Crocks of 1925 (lot 40) was his final lithograph and shows a pair of horses having been taken out of a cab’s shafts and led to a trough for a drink.Following Bevan’s death in 1925, memorial exhibitions of his work were held at the Goupil Gallery in London and at Brighton Art Gallery. Bevan is represented in many major public collections, including the British Museum, Victoria & Albert Museum and Ashmolean Museum, Oxford.
Lot 43
ROBERT POLHILL BEVAN (BRITISH 1865-1925) THE WHITE HOUSE - 1921 Lithograph, 25/50, numbered in pencil to margin, with the stamped monogram the sheet 26.5cm x 33.5cm (10.5in x 13.25in), unframed Estate of the Artist; and thence by descent to the present owner. Literature: Dry, Graham, Robert Bevan 1865-1925: Catalogue Raisonné of the Lithographs and other Prints, The Curwen Press, London, 1965, another example from the edition repr. b/w no.30Note: Graham Dry has explained that this lithograph is based on a painting of Gould’s Farm Luppitt, where the artist worked in 1920.‘Lithography was a very important part of his artistic expression. He found it a very suitable medium for his skills . . . At all times he loved the feel of lithographic chalk and the handling of it on the smooth stone’ - Robert Alexander Bevan, the artist’s son, 1968We are delighted to present a group of eight lithographs by Robert Polhill Bevan, which come from the Artist’s Estate and thence by descent to the present owner, in our Prints & Multiples sale of 26 March 2025. Consisting of four of his celebrated London horse images and four of his attractive rural scenes, each reveals his love of and technical brilliance in the medium of lithography.Bevan was born in Hove, Sussex in 1865 and grew up in Horsgate, near Cuckfield. He studied at Westminster School of Art, London and at the Académie Julian in Paris. His training during the 1890s also included two periods in Pont-Aven in Brittany – where he met Paul Gauguin – as well as time spent in Madrid and Tangier. He was a member of the Fitzroy Street, Camden Town, London and Cumberland Market Groups, founded in London between 1907 and 1914. In 1897, Bevan met and married the Polish artist Stanislawa de Karlowska (1876-1952). Three years later they moved to 14 Adamson Road, London, which remained their base for the rest of Bevan’s life. The couple became key figures in London’s art world before and after the First World War and held popular ‘at homes’ on Sunday afternoons during the 1910s.Printmaking was an important part of Bevan’s artistic practice. He used lithography early in his career but turned away from the medium in 1901. After 17 years Bevan returned to lithography with aplomb at the end of the War. A work like The Plantation, 1922 (lot 44), shows his mature mastery of the technique, along with a simplification of form, angular structure and clarity of composition. He brought this sensibility to all his landscape prints, capturing the essence of English villages and Polish homesteads in images including The White House, 1921 (lot 43), A Polish Homestead, 1922 (lot 42) and Smithy Barn, Bolham, 1919 (lot 41).Bevan was a highly-skilled horseman and his images of horses are amongst the most celebrated of his oeuvre. He would sketch during the horse sales in London, where he enjoyed the interaction between people and animals as much as the pace and spectacle of the event. This interest expanded into his printmaking practice and can be seen in lithographs such as Horse Dealers (Ward’s Repository No.1) (lot 38), The Horse Mart (Barbican No. 1) (lot 37) and Horse Dealers at the Barbican (Barbican No.2) (lot 39) produced from 1919 to 1921. Crocks of 1925 (lot 40) was his final lithograph and shows a pair of horses having been taken out of a cab’s shafts and led to a trough for a drink.Following Bevan’s death in 1925, memorial exhibitions of his work were held at the Goupil Gallery in London and at Brighton Art Gallery. Bevan is represented in many major public collections, including the British Museum, Victoria & Albert Museum and Ashmolean Museum, Oxford.
Lot 53
WILHELMINA BARNS-GRAHAM C.B.E. (SCOTTISH 1912-2004), AFTER WATER DANCE (PORTHMEOR) VII - 2007 Screenprint, 53/100, numbered in pencil, with the Wilhelmina Barns-Graham Trust inkstamp verso, published by Graal Press, with their blindstamp; with the accompanying hardcover book ‘The Prints of Wilhelmina Barns-Graham: A Complete Catalogue’ by Ann V. Gunn, housed together in grey slipbox, as issued (2) the sheet 19.5cm x 26cm (7.75in x 10.25in), unframed The Wilhelmina Barns-Graham Trust, where acquired by the current owner
Lot 39
ROBERT POLHILL BEVAN (BRITISH 1865-1925) HORSE DEALERS AT THE BARBICAN (BARBICAN NO. 2) - 1921 Lithograph, from the edition of 70, inscribed ‘Barbican No 2’ in pencil to lower edge Estate of the Artist; and thence by descent to the present owner. Literature: Dry, Graham, Robert Bevan 1865-1925: Catalogue Raisonné of the Lithographs and other Prints, The Curwen Press, London 1965, another example from the edition repr. b/w no.35.Note: This print is one of eleven from the edition on thin white wove paper, with no signature. It is based on an oil painting of the same title, with some alterations, the location of which is unknown. ‘Lithography was a very important part of his artistic expression. He found it a very suitable medium for his skills . . . At all times he loved the feel of lithographic chalk and the handling of it on the smooth stone’ - Robert Alexander Bevan, the artist’s son, 1968We are delighted to present a group of eight lithographs by Robert Polhill Bevan, which come from the Artist’s Estate and thence by descent to the present owner, in our Prints & Multiples sale of 26 March 2025. Consisting of four of his celebrated London horse images and four of his attractive rural scenes, each reveals his love of and technical brilliance in the medium of lithography.Bevan was born in Hove, Sussex in 1865 and grew up in Horsgate, near Cuckfield. He studied at Westminster School of Art, London and at the Académie Julian in Paris. His training during the 1890s also included two periods in Pont-Aven in Brittany – where he met Paul Gauguin – as well as time spent in Madrid and Tangier. He was a member of the Fitzroy Street, Camden Town, London and Cumberland Market Groups, founded in London between 1907 and 1914. In 1897, Bevan met and married the Polish artist Stanislawa de Karlowska (1876-1952). Three years later they moved to 14 Adamson Road, London, which remained their base for the rest of Bevan’s life. The couple became key figures in London’s art world before and after the First World War and held popular ‘at homes’ on Sunday afternoons during the 1910s.Printmaking was an important part of Bevan’s artistic practice. He used lithography early in his career but turned away from the medium in 1901. After 17 years Bevan returned to lithography with aplomb at the end of the War. A work like The Plantation, 1922 (lot 44), shows his mature mastery of the technique, along with a simplification of form, angular structure and clarity of composition. He brought this sensibility to all his landscape prints, capturing the essence of English villages and Polish homesteads in images including The White House, 1921 (lot 43), A Polish Homestead, 1922 (lot 42) and Smithy Barn, Bolham, 1919 (lot 41).Bevan was a highly-skilled horseman and his images of horses are amongst the most celebrated of his oeuvre. He would sketch during the horse sales in London, where he enjoyed the interaction between people and animals as much as the pace and spectacle of the event. This interest expanded into his printmaking practice and can be seen in lithographs such as Horse Dealers (Ward’s Repository No.1) (lot 38), The Horse Mart (Barbican No. 1) (lot 37) and Horse Dealers at the Barbican (Barbican No.2) (lot 39) produced from 1919 to 1921. Crocks of 1925 (lot 40) was his final lithograph and shows a pair of horses having been taken out of a cab’s shafts and led to a trough for a drink.Following Bevan’s death in 1925, memorial exhibitions of his work were held at the Goupil Gallery in London and at Brighton Art Gallery. Bevan is represented in many major public collections, including the British Museum, Victoria & Albert Museum and Ashmolean Museum, Oxford.
Lot 42
ROBERT POLHILL BEVAN (BRITISH 1865-1925) A POLISH HOMESTEAD - 1922 Lithograph, 34/45, signed and numbered in pencil to margin, with the stamped monogram the sheet 33cm x 38cm (13in x 15in), unframed Estate of the Artist; and thence by descent to the present owner. Literature: Dry, Graham, Robert Bevan 1865-1925: Catalogue Raisonné of the Lithographs and other Prints, The Curwen Press, London, 1965, another example from the edition repr. b/w no. 32‘Lithography was a very important part of his artistic expression. He found it a very suitable medium for his skills . . . At all times he loved the feel of lithographic chalk and the handling of it on the smooth stone’ - Robert Alexander Bevan, the artist’s son, 1968We are delighted to present a group of eight lithographs by Robert Polhill Bevan, which come from the Artist’s Estate and thence by descent to the present owner, in our Prints & Multiples sale of 26 March 2025. Consisting of four of his celebrated London horse images and four of his attractive rural scenes, each reveals his love of and technical brilliance in the medium of lithography.Bevan was born in Hove, Sussex in 1865 and grew up in Horsgate, near Cuckfield. He studied at Westminster School of Art, London and at the Académie Julian in Paris. His training during the 1890s also included two periods in Pont-Aven in Brittany – where he met Paul Gauguin – as well as time spent in Madrid and Tangier. He was a member of the Fitzroy Street, Camden Town, London and Cumberland Market Groups, founded in London between 1907 and 1914. In 1897, Bevan met and married the Polish artist Stanislawa de Karlowska (1876-1952). Three years later they moved to 14 Adamson Road, London, which remained their base for the rest of Bevan’s life. The couple became key figures in London’s art world before and after the First World War and held popular ‘at homes’ on Sunday afternoons during the 1910s.Printmaking was an important part of Bevan’s artistic practice. He used lithography early in his career but turned away from the medium in 1901. After 17 years Bevan returned to lithography with aplomb at the end of the War. A work like The Plantation, 1922 (lot 44), shows his mature mastery of the technique, along with a simplification of form, angular structure and clarity of composition. He brought this sensibility to all his landscape prints, capturing the essence of English villages and Polish homesteads in images including The White House, 1921 (lot 43), A Polish Homestead, 1922 (lot 42) and Smithy Barn, Bolham, 1919 (lot 41).Bevan was a highly-skilled horseman and his images of horses are amongst the most celebrated of his oeuvre. He would sketch during the horse sales in London, where he enjoyed the interaction between people and animals as much as the pace and spectacle of the event. This interest expanded into his printmaking practice and can be seen in lithographs such as Horse Dealers (Ward’s Repository No.1) (lot 38), The Horse Mart (Barbican No. 1) (lot 37) and Horse Dealers at the Barbican (Barbican No.2) (lot 39) produced from 1919 to 1921. Crocks of 1925 (lot 40) was his final lithograph and shows a pair of horses having been taken out of a cab’s shafts and led to a trough for a drink.Following Bevan’s death in 1925, memorial exhibitions of his work were held at the Goupil Gallery in London and at Brighton Art Gallery. Bevan is represented in many major public collections, including the British Museum, Victoria & Albert Museum and Ashmolean Museum, Oxford.
Lot 37
ROBERT POLHILL BEVAN (BRITISH 1865-1925) THE HORSE MART (BARBICAN NO. I) - 1920 Lithograph, from the edition of 65 the sheet 46cm x 59cm (18in x 23.25in), unframed Estate of the Artist; and thence by descent to the present owner. Literature: Dry, Graham, Robert Bevan 1865-1925: Catalogue Raisonné of the Lithographs and other Prints, The Curwen Press, London, 1965, another example from the edition repr. b/w no. 34.Note: This work is based on the oil painting The Horse Mart of 1917-18, in the collection of the Yale Center for British Art (acc.no. B2001.2.110).‘Lithography was a very important part of his artistic expression. He found it a very suitable medium for his skills . . . At all times he loved the feel of lithographic chalk and the handling of it on the smooth stone’ - Robert Alexander Bevan, the artist’s son, 1968We are delighted to present a group of eight lithographs by Robert Polhill Bevan, which come from the Artist’s Estate and thence by descent to the present owner, in our Prints & Multiples sale of 26 March 2025. Consisting of four of his celebrated London horse images and four of his attractive rural scenes, each reveals his love of and technical brilliance in the medium of lithography.Bevan was born in Hove, Sussex in 1865 and grew up in Horsgate, near Cuckfield. He studied at Westminster School of Art, London and at the Académie Julian in Paris. His training during the 1890s also included two periods in Pont-Aven in Brittany – where he met Paul Gauguin – as well as time spent in Madrid and Tangier. He was a member of the Fitzroy Street, Camden Town, London and Cumberland Market Groups, founded in London between 1907 and 1914. In 1897, Bevan met and married the Polish artist Stanislawa de Karlowska (1876-1952). Three years later they moved to 14 Adamson Road, London, which remained their base for the rest of Bevan’s life. The couple became key figures in London’s art world before and after the First World War and held popular ‘at homes’ on Sunday afternoons during the 1910s.Printmaking was an important part of Bevan’s artistic practice. He used lithography early in his career but turned away from the medium in 1901. After 17 years Bevan returned to lithography with aplomb at the end of the War. A work like The Plantation, 1922 (lot 44), shows his mature mastery of the technique, along with a simplification of form, angular structure and clarity of composition. He brought this sensibility to all his landscape prints, capturing the essence of English villages and Polish homesteads in images including The White House, 1921 (lot 43), A Polish Homestead, 1922 (lot 42) and Smithy Barn, Bolham, 1919 (lot 41).Bevan was a highly-skilled horseman and his images of horses are amongst the most celebrated of his oeuvre. He would sketch during the horse sales in London, where he enjoyed the interaction between people and animals as much as the pace and spectacle of the event. This interest expanded into his printmaking practice and can be seen in lithographs such as Horse Dealers (Ward’s Repository No.1) (lot 38), The Horse Mart (Barbican No. 1) (lot 37) and Horse Dealers at the Barbican (Barbican No.2) (lot 39) produced from 1919 to 1921. Crocks of 1925 (lot 40) was his final lithograph and shows a pair of horses having been taken out of a cab’s shafts and led to a trough for a drink.Following Bevan’s death in 1925, memorial exhibitions of his work were held at the Goupil Gallery in London and at Brighton Art Gallery. Bevan is represented in many major public collections, including the British Museum, Victoria & Albert Museum and Ashmolean Museum, Oxford.
Lot 44
ROBERT POLHILL BEVAN (BRITISH 1865-1925) THE PLANTATION - 1922 Lithograph, 13/40, signed and numbered in pencil to margin, with the stamped monogram, inscribed with title in pencil at lower edge the sheet 41cm x 56cm (16.25in x 22in), unframed Estate of the Artist; and thence by descent to the present owner. Literature: Dry, Graham, Robert Bevan 1865-1925: Catalogue Raisonné of the Lithographs and other Prints, The Curwen Press, London 1965, another example from the edition repr. b/w no.37.Note: This work is based, in reverse, on an oil painting of the same title of 1919, the location of which is unknown.‘Lithography was a very important part of his artistic expression. He found it a very suitable medium for his skills . . . At all times he loved the feel of lithographic chalk and the handling of it on the smooth stone’ - Robert Alexander Bevan, the artist’s son, 1968We are delighted to present a group of eight lithographs by Robert Polhill Bevan, which come from the Artist’s Estate and thence by descent to the present owner, in our Prints & Multiples sale of 26 March 2025. Consisting of four of his celebrated London horse images and four of his attractive rural scenes, each reveals his love of and technical brilliance in the medium of lithography.Bevan was born in Hove, Sussex in 1865 and grew up in Horsgate, near Cuckfield. He studied at Westminster School of Art, London and at the Académie Julian in Paris. His training during the 1890s also included two periods in Pont-Aven in Brittany – where he met Paul Gauguin – as well as time spent in Madrid and Tangier. He was a member of the Fitzroy Street, Camden Town, London and Cumberland Market Groups, founded in London between 1907 and 1914. In 1897, Bevan met and married the Polish artist Stanislawa de Karlowska (1876-1952). Three years later they moved to 14 Adamson Road, London, which remained their base for the rest of Bevan’s life. The couple became key figures in London’s art world before and after the First World War and held popular ‘at homes’ on Sunday afternoons during the 1910s.Printmaking was an important part of Bevan’s artistic practice. He used lithography early in his career but turned away from the medium in 1901. After 17 years Bevan returned to lithography with aplomb at the end of the War. A work like The Plantation, 1922 (lot 44), shows his mature mastery of the technique, along with a simplification of form, angular structure and clarity of composition. He brought this sensibility to all his landscape prints, capturing the essence of English villages and Polish homesteads in images including The White House, 1921 (lot 43), A Polish Homestead, 1922 (lot 42) and Smithy Barn, Bolham, 1919 (lot 41).Bevan was a highly-skilled horseman and his images of horses are amongst the most celebrated of his oeuvre. He would sketch during the horse sales in London, where he enjoyed the interaction between people and animals as much as the pace and spectacle of the event. This interest expanded into his printmaking practice and can be seen in lithographs such as Horse Dealers (Ward’s Repository No.1) (lot 38), The Horse Mart (Barbican No. 1) (lot 37) and Horse Dealers at the Barbican (Barbican No.2) (lot 39) produced from 1919 to 1921. Crocks of 1925 (lot 40) was his final lithograph and shows a pair of horses having been taken out of a cab’s shafts and led to a trough for a drink.Following Bevan’s death in 1925, memorial exhibitions of his work were held at the Goupil Gallery in London and at Brighton Art Gallery. Bevan is represented in many major public collections, including the British Museum, Victoria & Albert Museum and Ashmolean Museum, Oxford.
Lot 38
ROBERT POLHILL BEVAN (BRITISH 1865-1925) HORSE DEALERS (WARD'S REPOSITORY NO.I) - 1919 Lithograph, from the edition of 80 the sheet 44.5cm x 57cm (17.5in x 22.5in), unframed Estate of the Artist; and thence by descent to the present owner. Literature: Bevan, R.A., Robert Bevan 1865-1925: A Memoir by his Son, Studio Vista, London 1965, another example from the edition repr. b/w pl.62 (as 'Horse Dealers' and dated 1921),Dry, Graham, Robert Bevan 1865-1925: Catalogue Raisonné of the Lithographs and other Prints, The Curwen Press, London 1965, another example from the edition repr. b/w no.33 (as 'Horse Dealers (Ward's Repository No.1)' and dated 1919).Note: This work is also known as Ward's No.1. It is related to the oil painting Horse Dealers (Sale at Ward's Repository No.1) of 1918 which was purchased by Manchester Art Gallery in 1935 (acc.no.1935.157). Ward's Repository off the Edgware Road, London, was the first of the horse sale yards to close.‘Lithography was a very important part of his artistic expression. He found it a very suitable medium for his skills . . . At all times he loved the feel of lithographic chalk and the handling of it on the smooth stone’ - Robert Alexander Bevan, the artist’s son, 1968We are delighted to present a group of eight lithographs by Robert Polhill Bevan, which come from the Artist’s Estate and thence by descent to the present owner, in our Prints & Multiples sale of 26 March 2025. Consisting of four of his celebrated London horse images and four of his attractive rural scenes, each reveals his love of and technical brilliance in the medium of lithography.Bevan was born in Hove, Sussex in 1865 and grew up in Horsgate, near Cuckfield. He studied at Westminster School of Art, London and at the Académie Julian in Paris. His training during the 1890s also included two periods in Pont-Aven in Brittany – where he met Paul Gauguin – as well as time spent in Madrid and Tangier. He was a member of the Fitzroy Street, Camden Town, London and Cumberland Market Groups, founded in London between 1907 and 1914. In 1897, Bevan met and married the Polish artist Stanislawa de Karlowska (1876-1952). Three years later they moved to 14 Adamson Road, London, which remained their base for the rest of Bevan’s life. The couple became key figures in London’s art world before and after the First World War and held popular ‘at homes’ on Sunday afternoons during the 1910s.Printmaking was an important part of Bevan’s artistic practice. He used lithography early in his career but turned away from the medium in 1901. After 17 years Bevan returned to lithography with aplomb at the end of the War. A work like The Plantation, 1922 (lot 44), shows his mature mastery of the technique, along with a simplification of form, angular structure and clarity of composition. He brought this sensibility to all his landscape prints, capturing the essence of English villages and Polish homesteads in images including The White House, 1921 (lot 43), A Polish Homestead, 1922 (lot 42) and Smithy Barn, Bolham, 1919 (lot 41).Bevan was a highly-skilled horseman and his images of horses are amongst the most celebrated of his oeuvre. He would sketch during the horse sales in London, where he enjoyed the interaction between people and animals as much as the pace and spectacle of the event. This interest expanded into his printmaking practice and can be seen in lithographs such as Horse Dealers (Ward’s Repository No.1) (lot 38), The Horse Mart (Barbican No. 1) (lot 37) and Horse Dealers at the Barbican (Barbican No.2) (lot 39) produced from 1919 to 1921. Crocks of 1925 (lot 40) was his final lithograph and shows a pair of horses having been taken out of a cab’s shafts and led to a trough for a drink.Following Bevan’s death in 1925, memorial exhibitions of his work were held at the Goupil Gallery in London and at Brighton Art Gallery. Bevan is represented in many major public collections, including the British Museum, Victoria & Albert Museum and Ashmolean Museum, Oxford.
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