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Lot 268
London.- Booth (Charles) Descriptive Map of London Poverty 1889, in four parts covering the North-Western, South-Western, North-Eastern, and South Eastern parts of London, based on Stanford's 'Library Map of London' but with coloured-coded identification indicating London's poverty and prosperity street by street, lithographs printed in colours, various sheet sizes approx. 515 x 620 mm (20 1/4 x 24 1/2 in) or slightly smaller, two with lower edges trimmed, one sheet with right edge trimmed to map, all trimmed sections allowing for flush joining of sheets, currently not joined, some surface dirt and minor scuffs, folding without slipcase, 8vo, 1889; together with Booth's 'Map Shewing Degrees of Poverty in London in areas with about 30,000 Inhabitants in each, Compiled from Information Collected in 1889-1890', an outline map dividing the city into areas with colour-coded key illustrating the extent of poverty in each location, with key and table in the upper and lower right corners, respectively, originally published with the appendix to 'Labour & Life of the People' vol. 2, lithograph printed in colour, sheet 650 x 890 mm (25 1/2 x 35), laid onto linen, some handling creases and light folds, some spotting and minor surface dirt, folding without slipcase, unframed, [1890-1891] (2) *** "Quite the most important thematic map of the metropolis in the 19th century" [Hyde p. 28]. Originally published as part of 'Labour and Life of the People', which was Booth's monumental polemic on poverty, where he argued that chronic pauperism inevitably led to depravity, and that recognition of endemic poverty and the problems it caused must be given greater weight in both political and social circles.
Lot 234
Voyages.- Cannibalism.- Dillon (Captain Peter) Narrative and Successful Result of a Voyage in the South Seas ... to ascertain the Actual Fate of La Pérouse's Expedition, 2 vol., first edition, 2 folding lithograph frontispieces (one hand-coloured), one engraved plate, one folding hand-coloured map, occasional light spotting, bookplate, contemporary calf, expertly rebacked and recornered, a little rubbed, [Abbey Travel 598; Hill 480], 8vo, 1829. *** "It was during this voyage that the mystery of the disappearance of La Pérouse and his expedition in 1788 was finally solved. ... After various adventures in Australia, New Zealand, and Tonga, Dillon found the wrecks of the lost ships on the reefs surrounding Vanikoro in the Santa Cruz Islands." (Hill)
Lot 223
Andy Warhol (American, 1928-1987) 'Tattooed Woman Holding a Rose', 1955. Bears the Estate of Andy Warhol and Andy Warhol Foundation for the Visual Arts Inc. Blue inkstamps recto, horizontal folds as issued, Halcyon gallery label to verso, offset orange lithograph on pale green onion skin paper, 74 x 28.5 cm, mounted in a white frame. With an extensive folder of paperwork.Provenance: From the estate of an English gentleman, who purchased the work from the Halcyon gallery in 2022. With certificate of authenticity.Note: In the 1950s, Andy Warhol was one of New York’s most successful commercial artists, and his distinctive blotted-line drawing technique gained significant popularity among art directors at top fashion brands. Warhol would trace a photograph or image in bold ink on a non-absorbent surface, then transfer it to paper, creating a unique and expressive line. In Tattooed Woman Holding a Rose, Warhol ‘tattooed’ the corseted woman’s body with iconic logos and brand names, almost like a sales pitch aimed at potential clients, even including his contact number scrawled across her outfit. Serving as both a business card and a work of fine art, this piece exemplifies Warhol’s unapologetic blending of art and commerce. Copies of this lithograph were sent to advertising and design agencies, as well as clients and patrons, serving as a calling card in his pursuit of commissions. The piece even features Murray Hill, NY, along with his phone number across the woman's waist.
Lot 713
† LAURENCE STEPHEN LOWRY RBA RA (1887-1976); a limited edition lithograph, 'His Family', signed in pencil lower right, Fine Art Trade Guild blind stamp lower left EJB (472), further printed 503, published by Adam Collection Ltd ref. no. ASP9L72, 55 x 72cm.Condition Report: † This lot may qualify for Artist Resale Rights. For further information, please visit https://www.dacs.org.uk or https://artistscollectingsociety.orgThere is discolouration to the print caused by sun damage and a further stain lower left and tape marks to the top edge and corners.
Lot 59
Julian Trevelyan (British 1910-1988)HarbourDedicaion to artist's godson to lower edge in black ink 'To Paul Rene Amador de Giverne with love from Julian 22 Nov. 1957' (sic.) Lithograph47 x 75cm, framed and glazed, 55 x 82cmFootnote: Paul Rene Amador De Giberne Sieveking, Julian Trevelyan's godson, is the son of writer and pioneering BBC radio and television producer Lance Sieveking, who was a lifelong friend to Trevelyan.Slipped out of mount in top left corner, foxing spot to centre, light fading and discolouration commensurate with age, unexamined out of sealed frame
Lot 65
Mary Fedden (British 1915-2012) Basket of Lemons signed Fedden (lower right) lithograph numbered 63/70 plate, 74 cm x 54 cm framed and glazed, 90.5 cm x 69 cmRichard Bawden (British 1936-2024) Sezincote House signed (lower right) lithograph numbered 63/70 plate, 47 cm x 61 cm framed and glazed, 69 cm x 81 cm Mary Fedden - No obvious signs of damage or wear, unexamined out of sealed frameRichard Bawden - Broken glass to bottom left corner of the frame, small brown spot to middle left edge, unexamined out of sealed frame, please view photographs
Lot 508
Pablo Picasso, 1881 Málaga – 1973 MouginsHOMARDS ET POISSONS, 1949Lithografie auf Velin.Darstellung: 73,5 x 103 cm.Rechts unterhalb der Darstellung signiert, links unten Auflage „19/50“.Im Passepartout, hinter Glas gerahmt.Literatur:Georges Bloch, Pablo Picasso, Katalog des graphischen Werkes 1966-1969, Bern 1986, Nr. 582. (1431233) (18)Pablo Picasso,1881 Málaga – 1973 MouginsHOMARDS ET POISSONS, 1949Lithograph on vellum. Dimensions of depiction: 73.5 x 103 cm.Signed lower right beneath the depiction, limited edition no. “19/50” lower left. Literature:Georges Bloch, Pablo Picasso, Katalog des graphischen Werkes 1966-1969, Bern 1986, no. 582.
Lot 923
Pancraz Körle, 1823 München – 1875 ebendaGemäldepaarINTERIEUR MIT JUNGER DAME VOR SCHREIBSEKRETÄRsowieKAVALIER BEIM BETRACHTEN EINER PORTRAITMINIATURÖl auf Leinwand. Doubliert.Je 44,5 x 36 cm.Eines rechts unten signiert und datiert „P. Körle 68.“.In dekorativen Rahmen.In einem Innenraum eine junge Frau in einem eleganten Kleid vor einem Sekretär stehend, an dem sie gesessen hat, um einen Liebesbrief zu schreiben, den sie gerade mit ihren Händen bei träumerischen Blick an ihre Wange schmiegt. Das andere Gemälde zeigt in Rückenansicht einen Kavalier in Kleidung des Rokoko mit angehängtem Degen. Er steht vor einem vergoldeten Konsolenspiegel, hält in seiner linken den erhaltenen Liebesbrief und betrachtet aufmerksam die Portraitminiatur seiner Liebsten in der rechten Hand. Einfühlsame Genredarstellung mit vielen Details. Anmerkung:Der Künstler war ein deutscher Porträt- und Genremaler, meist mit Szenen aus dem Rokokomilieu, sowie Lithograph. Von 1845 bis 1848 war er in Wien Schüler Ferdinand Waldmüllers und dort auch als Porträtmaler tätig. (14301514) (18))
Lot 23
Marc Chagall (Russian/French, 1887-1985). Lithograph on paper titled "Pantomime," 1972. Pencil signed along the lower right; numbered 15/50 along the lower left; titled along the verso.Unframed; height: 24 1/2 in x width: 19 1/2 in. Matted; height: 25 1/2 in x width: 20 3/4 in.Condition: There are no tears or restorations. The sheet is toned; the image more so due to uneven light exposure. The lower edge of the sheet has been folded upwards, possibly to fit a previous frame or possibly to expose the title. The work is hinged to a mat with two pieces of framer's tape along the upper edge of the verso. The work is not framed.
Lot 119
Max Papart (French, 1911-1994). Large lithograph on paper depicting a composition of bright colors juxtaposed with a seascape and a musical arrangement. Pencil signed along the lower right; numbered H.C. VI/XV (6/15) along the lower left.Sight; height: 34 in x width: 27 in. Framed; height: 46 in x width: 39 1/2 in x depth: 1 1/2 in.Condition: The colors are bold and bright. There are no visible tears, creases, losses, or restorations when viewed under UV light. Housed under a nonacidic mat. Framed under glass; light wear to the frame. Not inspected out of frame.
Lot 95
Suzanne Caporael (America, b. 1949). Lithograph with hand painting on paper titled "Jade Bay, North Sea, Germany" depicting a geometric composition with red, white, and blue squares, 2003. Pencil signed and dated along the lower right; editioned 13/30 along the lower left.Height: 19 1/4 in x width: 14 1/4 in.Condition: The colors are bold and bright. There are no tears, losses, or signs of restoration. Light wear along the extreme edges. The work is not framed.
Lot 90
Jasper Johns (American, b. 1930). Offset lithograph with paints and paintbrush titled "Target" depicting a 'blank' target. Signed in print along the lower left; the second line in the artist section has been left to allow the purchaser to paint the target themselves and sign their own name. Along the the catalog "Technics and Creativity" published by Gemini G.E.L., Los Angeles, in conjunction with the Museum of Modern Art, New York, 1970-71. Contained in a white plastic case.(Case) Height: 10 1/2 in x width: 9 in x depth: 1 1/4 in.Condition: The colors are bold and bright. No tears, creases, or losses to the print. Some undulation and very light wear to the catalog. Wear including areas of soiling to the case.
Lot 120
Martin Mull (American, 1943-2024). Lithograph on paper print titled "Study for the Lure of the Side Show III," 1997. Pencil signed and dated along the lower right; numbered 1/10 along the lower left.Martin Mull rose to fame as an actor in "Mary Hartman, Mary Hartman," and its spin-off "Fernwood 2 Night" and "American 2 Night." However, his later roles cemented him as a staple of comedy movies and TV shows throughout the 1970s into the 2020s, spanning five decades of television and movie history. Some of his best known roles include Colonel Mustard in "Clue" (1985), Leon Carp in "Roseanne," Willard Kraft in "Sabrina the Teenage Witch, among many others.Mull began painting in the 1970s. His first notable exhibition was the June 15, 1971 "Flush with the Walls" exhibit in the men's room of the Boston Museum of Fine Arts to protest the lack of contemporary and local art shown there. In 1980 he had his first large solo exhibit at the Molly Barnes Gallery in Los Angeles. His work combines photorealist painting, pop art, and collage styles.Sight; height: 28 1/2 in x width: 23 1/4 in. Framed; height: 33 1/4 in x width: 27 1/2 in x depth: 1 1/4 in.Condition: The colors are bold and bright. There are no major tears, losses, or restorations. Very light wear along the deckled edges. Slight crease along the extreme lower right edge. The work is floated in frame. Framed under plexiglass; there is a scratch to the plexiglass in the lower left quadrant. Light wear to the frame. Not inspected out of frame.
Lot 151
Lesley Dill (American, b. 1950). Photo-lithograph on silk portrait printed over an Emily Dickinson poem, 1999. Pencil signed and dated along the lower right.Sight; height: 17 1/4 in x width: 14 1/2 in. Framed; height: 26 in x width: 22 1/2 in x depth: 1 in.Condition: There are no tears, losses, or restorations. Loose strings throughout, likely original to the work. Floated in frame. Framed under glass. Light wear to the frame. Not inspected out of frame.
Lot 99
Peter Shire (American, b. 1947). Lithograph on paper titled "Bel Air Chair" depicting an abstracted depiction of one of the artist's vibrant chair designs, ca. 1985. Pencil signed along the lower right; numbered 37/500 along the lower left.Sight; height: 29 1/2 in x width: 23 1/2 in. Framed; height: 31 1/4 in x width: 25 in x depth: 1 1/4 in.Condition: There are no visible tears, creases, losses, or restorations. Framed under glass; accretions throughout the glass. Some wear to the frame. Not inspected out of frame.
Lot 11
George Morrison (Grand Portage Anishinaabe, 1919-2000). Color lithograph on Japan paper titled "Surrealist Landscape," 1990-1996. Printed and published by Akasha Studio, Minneapolis. Pencil signed and dated along the lower right; titled along the lower left; numbered 10/43 along the lower center.Lot Essay:Regarded as the founding figure of Native American modernism and among the top American abstract expressionist painters is George Morrison. Also highly regarded as a master collage artist, he assembled large collages of found driftwood and woodcut in framed, puzzle-like forms. In the 1940s, he was formally trained at the Minneapolis College of Art and in the 1950s at the Art Students League in New York before receiving a Fulbright to study in France. Taking his place as part of the modern art movement in New York in the 1950s after World War II, he was friends with Jackson Pollock and Willem de Kooning, regularly exhibiting with de Kooning, Philip Guston, Hans Hofmann, and Franz Kline. Morrison helped bring the New York Modern Art movement to Minnesota, where he was based and worked with pure form via Abstract Expressionism. Later in his career, in the mid-1970s, Morrison shifted to a new theme and started to really explore his heritage when he and his family built a home with an art studio on the Grand Portage Indian Reservation on Lake Superior, naming it Red Rock.Rather than portraying an overt depiction of identity, Morrison was in the process of exploring his identity so he looked to nature, stating “in this search for my own identity, I seek the power of the rock, the magic of the water, the religion of the tree, the color of the wind and the enigma of the horizon.†Translating nature into paintings was Morrison’s way to navigate learning and absorption, and in turn produce self-expression. His token theme was the horizon, taking on dynamic form as colors or shapes in the eternal motion of nature. His inspiration was provided by Lake Superior, observing and documenting the temporary sight of the revered sky meeting landscape that he beheld in the moment.His artworks are spotted today in the collections of the Heard Museum, Philadelphia Museum of Art, and Whitney Museum of American Art, US National Gallery of Art, Minneapolis Institute of Art, and the Walker Art Center. In 1997 he was honored in a ceremony at the White House when his work was included in the Twentieth Century American Sculpture at The White House: Honoring Native Americans exhibition. In 1999 Morrison was honored as inaugural Master Artist in the Eiteljorg Museum of American Indians and Western Art, Indianapolis.Sight; height: 19 3/4 in x width: 16 in. Framed; height: 28 in x width: 24 in x depth: 1 in.Condition: The colors are bold and bright. The sheet is slightly toned. There are no major visible tears, losses, or signs of restoration. Extremely light soiling and areas of foxing along the margins. There is a slight undulation to the sheet. Housed under a mat. Framed under plexiglass; light wear to the frame. Not inspected out of frame.
Lot 77
Joan Miro (Spanish (Catalan), 1893-1983). Lithograph on paper titled "Maravillas con Variaciones Acrosticas 5," 1975. Pencil signed along the lower right; editioned H.C. along the lower left.Sight; height: 21 in x width: 29 1/2 in. Framed; height: 30 1/2 in x width: 39 in x depth: 1 1/2 in.Condition: The colors are bold and bright. No visible tears, losses, or restorations. There is a slight undulation to the sheet. Flaoted in frame on an acidic mat. Framed under glass; light wear to the frame. Not inspected out of frame.
Lot 76
Pierre Bonnard (French, 1867-1947). Color lithograph titled "Le Radiateur," plate four from "Suite de 10 Lithographies en Couleurs," 1943. Pencil initialed and numbered 55/80 along the lower right. With the text by Antoine Terrasse affixed to the verso.Sight; height: 26 in x width: 20 1/2 in. Framed; height: 34 in x width: 28 1/2 in x depth: 1 in.Condition: The sheet is toned, more so along the extreme edges. A few small areas of foxing. There appears to be a light crease along the upper right corner. Light undulation to the sheet. The work is floated in frame. Housed on a non-acidic mat. Framed under plexiglass; light wear to the frame. Not inspected out of frame.
Lot 100
Jim Dine (American, b. 1935). Lithograph on paper titled "Eight Hearts" depicting a group of colorful pop-art hearts on a silvery background, 1970. Signed and dated in plate along the lower margin.Sight; height: 24 3/4 in x width: 22 1/2 in. Framed; height: 33 1/2 in x width: 37 in x depth: 1 1/4 in.Condition: The colors are bold and bright. There are no major visible tears, losses or signs of restoration. Housed under a mat. Framed under glass; wear to the frame including a crack to the glass along the lower right. Not inspected out of frame.
Lot 132
Itzchak Tarkay (Israeli, 1935-2012). Lithograph on paper titled "Winter Afternoon" from the "Memories Retrospective" Suite. Depicting two figures seated at a table in cool tones. Pencil signed along the lower right; A.P. along the lower left.Sight; height: 13 in x width: 9 1/4 in. Framed; height: 26 1/2 in x width: 23 in x depth: 1 1/2 in.Condition: The colors are bold and bright. There are no major visible tears, losses, or signs of restoration. Housed under a mat. Framed under glass; light wear to the frame. Not inspected out of frame.
Lot 24
After Marc Chagall (Russian/French, 1887-1985). Brass mezuzah with lithograph depicting figures receiving the Ten Commandments under a burning Menorah, adapted from Chagall's painting titled "I am the Lord thy God" painting. With facsimile signature along the lower center of the print. Designed by Menahem Berman and produced by Arta Gallery in a limited edition. The mezuzah incised "Chagall" along the lower edge. Impressed "Menahem Berman," "Arta Gallery Jerusalem," and "Leon Amiel Publisher" with inscription in Hebrew along the verso. With grey felt case.Height: 5 1/2 in x width: 1 1/2 in x depth: 1 in.Condition: Some light wear including light scuffs to the verso.
Lot 78
Joan Miro (Spanish (Catalan), 1893-1983). Lithograph on paper titled "Maravillas Acrosticas XII," first state. Pencil signed along the lower right. With a certificate of authenticity from Park West Galleries.Sight; height: 25 1/2 in x width: 15 1/2 in. Framed; height: 34 1/2 in x width: 24 1/2 in x depth: 1 1/2 in.Condition: The colors are bold and bright. There are no tears, creases, losses, or restorations. Toning due to an acidic mat. A few light handling marks. Two pieces of residual framer's tape affixed to the upper edge of the verso. Not framed.
Lot 12
George Morrison (Grand Portage Anishinaabe, 1919-2000). Lithograph on paper depicting an intricately drawn landscape of undulating lines which meet at a horizon in the upper quarter of the sheet, 1976. Printed by Steven M. Andersen. Pencil signed and dated along the lower right; editioned Artists Proof 10/10 along the lower left.Lot Essay:Regarded as the founding figure of Native American modernism and among the top American abstract expressionist painters is George Morrison. Also highly regarded as a master collage artist, he assembled large collages of found driftwood and woodcut in framed, puzzle-like forms. In the 1940s, he was formally trained at the Minneapolis College of Art and in the 1950s at the Art Students League in New York before receiving a Fulbright to study in France. Taking his place as part of the modern art movement in New York in the 1950s after World War II, he was friends with Jackson Pollock and Willem de Kooning, regularly exhibiting with de Kooning, Philip Guston, Hans Hofmann, and Franz Kline. Morrison helped bring the New York Modern Art movement to Minnesota, where he was based and worked with pure form via Abstract Expressionism. Later in his career, in the mid-1970s, Morrison shifted to a new theme and started to really explore his heritage when he and his family built a home with an art studio on the Grand Portage Indian Reservation on Lake Superior, naming it Red Rock.Rather than portraying an overt depiction of identity, Morrison was in the process of exploring his identity so he looked to nature, stating “in this search for my own identity, I seek the power of the rock, the magic of the water, the religion of the tree, the color of the wind and the enigma of the horizon.†Translating nature into paintings was Morrison’s way to navigate learning and absorption, and in turn produce self-expression. His token theme was the horizon, taking on dynamic form as colors or shapes in the eternal motion of nature. His inspiration was provided by Lake Superior, observing and documenting the temporary sight of the revered sky meeting landscape that he beheld in the moment.His artworks are spotted today in the collections of the Heard Museum, Philadelphia Museum of Art, and Whitney Museum of American Art, US National Gallery of Art, Minneapolis Institute of Art, and the Walker Art Center. In 1997 he was honored in a ceremony at the White House when his work was included in the Twentieth Century American Sculpture at The White House: Honoring Native Americans exhibition. In 1999 Morrison was honored as inaugural Master Artist in the Eiteljorg Museum of American Indians and Western Art, Indianapolis.Sight; height: 24 in x width: 23 1/4 in. Framed; height: 30 in x width: 29 1/4 in x depth: 1 in.Condition: There are no visible tears, losses, or restorations. Light undulation to the sheet. Housed under a non-acidic mat. Framed under glass; light wear to the frame. Not inspected out of frame.
Lot 22
After Salvador Dali (Spanish, 1904-1989). Color lithograph titled "Le Grand Pavon," published in 1996 in conjunction with Brana Fine Art after the original painting that was then owned by Doug and Alice Alsobrook. From a total edition of 220; here numbered in Roman numerals XXIII/LXXV (13/75). The paper had been pre-signed by Dali for Levine and Levine prints that were never published; the signature appears in the lower right of the sheet.Reference: Field 219 (Appendix Q).Sight; height: 28 3/4 in x width: 19 1/2 in. Framed; height: 39 1/2 in x width: 30 in x depth: 1 3/4 in.Condition: The colors are bold and bright. There are no major visible tears, losses, or signs of restoration. Housed under a mat. Framed under plexiglass; light wear to the frame. Not inspected out of frame.
Lot 147
Rodin (Auguste).- Mirbeau (Octave) Le Jardin des Supplices, one of 30 copies on chine with an additional suite of plain plates, from an edition limited to 200, 20 lithograph plates by Auguste Rodin signed by the artist on the stone, all but two colour, each bound with additional plain plate and captioned tissue guard, light foxing to a couple of plates, with 2 pencil preparatory drawings by the binder mounted on sheet and bound in at end (one marked with tool numbers), bound in dark purple goatskin, by Charles Lanoë, spine titled in gilt with five raised bands, red goatskin doublures with illustration from title-page tooled in blind to centre, signed at foot of front turn-in, dark red silk moiré linings, marbled flyleaves, original printed wrappers bound in, g.e., preserved in half dark purple goatskin chemise (spine a little rubbed and faded) and board slip-case (very slightly rubbed at edges), [Artist & the Book 261; Artist & the Book in France p.341; Manet to Hockney 19], 4to (binding c.330 x 250mm.), Paris, Ambroise Vollard, 1902.*** Fine copy of Mirbeau's erotic novel, the only work to contain original plates by Rodin.
Lot 148
Lucian, of Samosata. Dialogues des Courtisanes, translated by Jules de Marthold, number 22 of 25 copies on Japon impérial with an additional suite in black on chine, from an edition limited to 500, colour lithograph plates and illustrations by Émile Berchmans, additional suite bound in at end (a little foxed), bound in orange morocco, by Catherine, spine titled in gilt, pink silk moiré doublures and linings, original pictorial wrappers bound in, g.e., board slip-case, 4to, Paris, 1902.
Lot 525
Five-colour lithograph on paper. Signed ‘Subirachs’ in the lower right corner of the work and numbered ‘68/150’ in the lower left corner.Size of plate: 34 x 39 cm; Size of paper: 75 x 53 cm; Size with frame: 85 x 62.5 cmVerified by the artist's specialist and curator, we thank her for her collaboration in the creation of this catalogue.
Lot 368
HM King Charles III / H.R.H. The Prince of Wales, 'The South Front, Highgrove House', limited edition lithograph of one hundred copies from the original watercolour. Signed, numbered 31/100 and dated 2011 in pencil, 41x35.5cm. Paper is made at St. Cuthbert's Mill in Somerset and carries a special watermark, printed at Curwen Chilford Prints Ltd, 2011. Housed in original presentation case, approx. 67.5x61cm. Certificate of authenticity provided.
Lot 409
A rare lithograph on fabric of the giant Post Office aerial at Goonhilly Downs 68x75cmsNB The aerial, named Arthur, marked an important step in global telecommunications as the world's first open parabolic antenna for telecommunications and the first to beam TV signals via satellite to the USA in July 1962.Provenance; the vendor's father worked for the Post Office and according to the vendor, the lithograph was commissioned by the Post Office for display in Post Offices across the country but may never have been put into general production. 68x75cms good condition
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 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.
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