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.
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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.
PABLO PICASSO (SPANISH 1881-1973), AFTER BOUQUET DE FLEURS (CZWIKLITZER 130) - 1958 Colour lithograph on Chiffon de la Dore wove paper, 43/200, signed and numbered in pencil, signed and dated in plate, published by Éditions Combat pour la Paix, Paris the sheet 66cm x 51cm (26in x 20in), unframed
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.
PAULA REGO R.A. (BRITISH/PORTUGESE 1935-2022) GIRL WHO HAS BEEN SICK RESTING WITH HER FAVOURITE CUDDLY (ROSENTHAL 281) - 2000 Lithograph, A/P, aside from the edition of 200, signed, editioned and dedicated ‘For Colette with love’ in pencil to margin, printed by Omni Colour Presentations Ltd., published by Serpentine Gallery, London the sheet 32cm x 38cm (12.5in x 15in), unframed Gift of the Artist to Colette Morey de Morand; and thence by descent to the current owner
ED RUSCHA (AMERICAN 1937-) CITIES, FROM THE 'WORLD' SERIES (ENGBERG 121) - 1982 Lithograph, 11/40, signed, dated and numbered in pencil, printed and published by Gemini G.E.L., Los Angeles, with their blindstamp the sheet 63.5cm x 121cm (25in x 47.5in) Private Collection, U.S.A. - The current owner's father had the full folio, acquired in the 1980s, and then distributed the individual prints between family members. Ruscha published the ‘World’ Series at Gemini in 1982. As Siri Engberg elaborates, they feature the artist’s characteristic wordplay but ‘he zooms further out, presenting images of the planet Earth and vast, low-slung horizons neatly marked with text – a geographical version of the sort of demarcation one might find on a historical timeline.’ Meanwhile, the long stroke lines ‘create the suggestion of animation-style motion: a spinning globe, caught for a split second’ (Siri Engberg, Out of Print; The Editions of Ed Ruscha, pg. 38). The resultant effect is energetic and playful, deceptively simple but with deeper layers of reference and significance, exploring what it means to try and capture aspects of the world and our experience in a single image or word.
Jack Yates, British 1923-2012 - Friends of Jack, 1969; collage and assemblage, signed and dated lower left 'J.Yates 1969', signed to artist's on the reverse 'Friends of Jack', H41.5 x W32.2 x D5.5 cm: together with a collage and offset drawing on paper by the same artist dated 1968, 86.8 x 60.7 cm and a a lithograph, 50.8 x 76.3 cm (3) (ARR) Provenance: the Collection of Klaus Hinrichsen (1912–2004) Note: Klaus Hinrichsen (1912–2004) was a German-born art historian who fled Nazi Germany in 1938. He was interned at Hutchinsons Camp on the Isle of Man from 1940, where he organised exhibitions featuring refugee artists such as Kurt Schwitters. Prevented from working in public art institutions after his release, he dedicated himself to collecting and researching maps, ethnographic works, and lithographs, meticulously cataloguing his acquisitions. He sourced items from Sotheby’s, Christie’s, and antique dealers, prioritising historical significance and conducted extensive provenance research at the British Library. His archive, including records and ephemera from his time in internment, is now held at the Tate Gallery.
Assorted loose book plates and engravings, including:Willy Pogany, Lohengrin, etching, signed in pencil image 19.5x13.5cm;Patten Wilson, Rustum and Sinoorg, dated '97, 20x12cm;Frederick Hammersley Ball, Ophelia, 20x12cm;Paul Balluriau, Crepuscue, lithograph 1897, publishers blind stamp,and others
A collection of 3 x framed Lithograph Armstrong Siddeley Special Six/Rolls Royce prints. Each frame measuring 42cms x 42cms including frame. Please note this lot has the standard Ewbank's standard buyers premium payable on top of the hammer price and not the reduced rate for cars and motorbikes. Viewing days: Monday 17th of March: 9am - 5pm, Tuesday 18th of March: 9am - 5pm, Wednesday 19th of March: 9am - 5pm, Thursday 20th of March: 9am - 5pm, Friday 21st of March, Saturday 22nd of March: 10am - 2pm, Monday 24th of March and Morning of the Auction on Friday 25th of March.
British Empire Trophy Race Donnington, lithograph on board, framed and two small lapel badges from the BRDC. (3)Please note this lot has the standard Ewbank's standard buyers premium payable on top of the hammer price and not the reduced rate for cars and motorbikes. Viewing days: Monday 17th of March: 9am - 5pm, Tuesday 18th of March: 9am - 5pm, Wednesday 19th of March: 9am - 5pm, Thursday 20th of March: 9am - 5pm, Friday 21st of March, Saturday 22nd of March: 10am - 2pm, Monday 24th of March and Morning of the Auction on Tuesday 25th of March.
LYDIA CORBETT (Nee Sylvette David, b. 1934) Still life with flowers, coloured lithograph, signed & inscribed in pen to lower margin, 46 x 36.5cm (image), loose sheet, unframed; together with a signed brochure for her 2015 exhibition “A Luminous World – Picasso’s Muse – Sylvette David/Lydia Corbett – A celebration at 80"; & a small coloured print in glazed frame.
A collection of six prints The first after Godfried Schalcken (Dutch 1643-1706), a young instrument player, engraving; the second François-Bernard Lépicié (French 1698-1755) after C. D. Moore, 'Le Jeu des Échecs', engraving, c.1746; a prospect of a Paris boulevard of the Louis XVI period, hand-coloured engraving; a boy with his mother holding grapes, etching and aquatint; 18th Century Welsh School, charcoal kiln view on the River Teivy, hand-coloured aquatint, 22cm x 23cm; and an offset lithograph after an aquatint of an interior scene.Qty: 5The first with notable toning, some damage to the paper in the upper left and minor damage to the figure's face. The second with some mount burn and light foxing. The third with notable toning and foxing, particularly in the upper half. The fourth with notable foxing. The fifth with some damage and repairs to the frame, losses to the black-painted glass slip, notable toning throughout. The sixth with some worm damage.
Käthe Kollwitz (1867-1945) lithograph - Gefangene, Musik Hörend (Prisoners listening to music), signed below image, 55cm x 37cm, in glazed frame Not examined out of the frame but doesn't appear to be laid down. Some slight discolouration to the paper but nothing serious, basically ready to hang. Overall framed size 74cm x 55cm. The 'window' size is 55cm x 37cm, as per the description.
Winter Solitude is an original color lithograph after an original painting by American artist Donna L. Dellaganna who depicts a splendid fox in a winter landscape. Includes an Affidavit of Limited Edition on verso. Signature, edition number and title in graphite on lower edge: Donna L. Dellaganna, 201/750, Winter Solitude. Housed in a gilded wooden frame with a beige mat. Sight size: 21"L x 16.25"H. Frame dimensions: 29.75"L x 24.50"H x 1"W. Artwork can be unframed and rolled for shipment.Artist: Donna L. Dellaganna (American 20th-21st century)Issued: 1987Dimensions: See DescriptionCountry of Origin: United StatesCondition: Age related wear.
This beautiful lithograph, after the original painting by artist Herbert Dicksee, portrays a tranquil rural scene of a shepherd guiding his flock down a tree-lined country path. Accompanied by a loyal sheepdog attentively awaiting instructions, the composition captures a moment of harmony between man, animal, and nature. The setting sun casts a warm glow over the landscape, emphasizing the peacefulness of the countryside. Herbert Thomas Dicksee (1862-1942) was a British painter and etcher celebrated for his deeply emotive depictions of animals and rural scenes. Trained at the Slade School of Fine Art, Dicksee gained acclaim for his lifelike portrayals of dogs, wildlife, and pastoral life. His works often captured the bond between animals and humans, resonating with audiences for their emotional depth and technical precision. Many of Dicksee's original works were reproduced as lithographs, making his artistry widely accessible and admired. Housed in a gilded wood and plaster accent frame with a protective glass. Sight size: 22"L x 15.25"H. Frame dimensions: 27"L x 20"H x 2.25"W. Artwork can be unframed and rolled for shipment.Artist: After Herbert Thomas Dicksee (British 1862-1942Issued: Early 20th centuryDimensions: See DescriptionCountry of Origin: EnglandCondition: Age related wear.
A 19th-century antique lithograph titled Innocence, depicting a young child seated on a cushion, placing a floral wreath on a lamb, symbolizing purity and gentleness. The finely detailed black-and-white print is housed in an ornate oval wooden frame with embossed floral motifs and a gilded inner rim, enhancing its vintage appeal. The artwork is protected under glass, preserving its delicate details. The backing is covered with brown paper, featuring a wire for wall hanging.Issued: 19th centuryDimensions: 12"L x 2"W x 14"HCondition: Age related wear. Frame has cracks.
Geology. Two titles: Jukes, J. Beete - Popular Physical Geology. London: Reeve and Co. 1853. 1st edition. With 20 lithograph plates [including frontispiece]. Original cloth, some wear. With; Hall, Rev. Charles A. - The Romance of the Rocks. London: A. & C. Black, Ltd. 1919. From the Peeps at Nature series. Original cloth. (2)
After Hans Memling - a double-winged portable triptych altar after the Lübeck passion altar at the St Annen Museum, the central panel lithograph depicting the Crucifixion flanked by two inner wings showing Christ carrying the cross to the left and the entombment to the right, the wings closing to display St John and St Jerome to the outside flanked by a further pair of wings with Saints Blaise and Egidus, grisaille style outer panels depicting the Angel Gabriel and the Madonna when fully closed, 19th century, central panel dimensions 56 x 40cm, full triptych dimensions 72 x 48.5 x 9cm
Salvador Dalí (Spanish 1904-1989) - Geopoliticus Child Watching the Birth of the New Man, lithograph in colours, signed and numbered 260/300 in pencil to the margin, visible sheet 53 x 59.5cmVery slight undulation to the sheet.Time staining/discolouration to the margins.Canvas good and strong.No tears, holes or creases.
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