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78475 Los(e)/Seite
Los 220
WW2 German K98 Parade Bayonet with Etched Blade, standard K98 dress bayonet with plated mounts, chequered grips and housed in black painted scabbard. Blade is etched with scene of artillery gun crew and details of Art Regt 13 Magdeburg, reverse with eagle and swastika and memory of service motto. Blade etching we believe to be most likely done in the post war period. Sold as seen.
Los 483
Stephen Whittle (British, B.1953), Village Lane, coloured etching, signed lower right, titled lower centre and marked AP (Artist's Proof) lower left, 9 x 11.5cm and another by the same artist, Country Lane, coloured etching, signed lower right, titled lower centre and numbered 40/300 lower left, 12 x 11cm, each framed and glazed (2)
Los 207
This beautiful porcelain vase features reverse hand-painted artistry, with the background meticulously detailed and the dragons left mostly white, enhanced through etching. It bears a marker backstamp on the base. Base included which measures 4.75"H x 10.25" dia. Dimensions: 13"L x 3.5"W x 15.75"HCondition: Age related wear.
Los 258
PRINTS & ENGRAVINGS: a mixed collection of prints, engravings, drawings and watercolours, to include signed etching of nude woman by Henry Haley: interesting gouache of goblin or gargoyle: some original artwork for Punch magazine, inc. marine gouache by H Seppings dated 1901, approx 47 x 31cm: plus a small bundle of b&w photographs, inc. some images of Gaza and Damascus. (Box)
Los 320
Two gold rings and an Edwardian photo locket, including, a ring set with five opals, in a rub over setting, in 18ct gold, tested as approximately 18ct gold, ring size N, a carved agate cameo ring, depicting the profile of a man, the mount rub over set with a rope twist design around, with a split shoulder, in 9ct gold, ring size J ½, and an Edwardian locket, with floral etching, with two glazed panels, in 9ct gold, both tested as approximately 9ct gold, both tested as approximately 9ct gold13.4 grams total (3)Condition Reportthe opal ring has a large chip to the middle stone, the cameo cracked.
Los 133
David Hockney (b.1937), The Glass Mountain - From 'Six Fairy Tales from the Brothers Grimm,' signed 'David Hockney' and numbered '71/100 D', etching on Hodgkinson paper watermarked DH/PP, 42 x 27 cm, framed and glazed 58.5 x 43 cmPaper discolouring, particularly near the mount - not inspected out of the frame
Los 170
‡ A COMPOSITE NORTH ITALIAN CAP-A-PIE ARMOUR WITH ETCHED DECORATION, LATE 16TH CENTURY, THE BACKPLATE SIGNED BY THE MASTER ‘P’ comprising morion with rounded one-piece crown rising to a high roped medial comb, and 'swept' integral brim rising to an acute point front (restored) and rear, the latter fitted with an associated etched and gilt copper alloy plume-holder, the interior with an early padded maroon velvet lining interspersed with small tassels; collar of three plates front and rear (the upper two of the front, and the uppermost and lowermost of the rear restored); breastplate formed of a main plate of deep 'peascod' fashion (the metal of its lower right showing internal delamination), embossed with a volute at each side of the chest, fitted at its arm-openings with moveable gussets, flanged outwards at its lower edge (the centre of the flange patched) and fitted with a fauld of two lames (the lowest patched at its left end) and a pair of pendent tassets each of nine lames (the left restored); well matched backplate embossed en suite, fitted with shoulder-straps and a belt; a pair of large symmetrical pauldrons, each formed of seven lames of which the third is in each case patched and the lowest four (restored) extend inwards only to the armpit; a pair of fully articulated tubular vambraces each fitted at its upper end with a turner of two lames and at its elbow with a winged bracelet couter of three lames; two gauntlets almost forming a pair, each formed of a flared and pointed tubular cuff (holed for display), four and five metacarpal-plates respectively, a shaped knuckle-plate (the right restored), later thumb-plate and finger-scales; the main edges of the armour formed almost throughout with file-roped inward turns, and its surfaces decorated with etching on a stippled and blackened ground (areas of wear), that of the morion consisting of a large cartouche at each side of the skull filled with the figure of Fortune enclosed by the inscription ‘Semper Fortuna Docet’ and ‘Semper Fortuna Iuna’ respectively, the comb with a central cartouche filled with a coat-of-arms, two moor’s heads addorsed above a further head and a bar between charged with three mullets, flanked by mythical beasts and birds on one face and further beasts and putto on the other, and that of the remainder of the armour consisting of bands and borders of trophies of arms generally enclosed by narrow bands of cabling and enclosing in the interspaces and volutes of the fronts and rears of the pauldrons, classical busts, and involving at the neck-opening of the backplate the device of a cross and orb, the latter charged with the letter ‘P’, and a pair of modern cuisses each of three lames, fitted at their lower ends with winged poleyns of five lames, hinged tubular greaves and articulated sabatons of eight lames; all on a wooden stand ProvenanceRussel J. Char
Los 35
JAMES MCBEY (SCOTTISH 1883–1959) MACDUFF - 1914 Signed, inscribed with title and dated ‘Sept. 1914’ lower left, watercolour and pen 22cm x 34.5cm (8.75in x 13.75in) Cyril Gerber Fine Art, Glasgow James McBey is regarded as a leading figure in the revival of British etching in the early twentieth-century, and as one of Scotland’s most celebrated twentieth-century artists. He travelled widely, always with a sketchbook or camera, providing ample source material for his compositions.
Los 36
JAMES MCBEY (SCOTTISH 1883–1959) MIDDLEBURG, HOLLAND - 1926 Signed, dated and inscribed with title lower right, ink and watercolour 30.5cm x 22.5cm (12in x 9in) Abbott & Holder, London, cat.no.44328 James McBey is regarded as a leading figure in the revival of British etching in the early twentieth-century, and as one of Scotland’s most celebrated twentieth-century artists. He travelled widely, always with a sketchbook or camera, providing ample source material for his compositions.
Los 70
DAME LAURA KNIGHT D.B.E., R.A., R.W.S. (BRITISH 1877-1970) SPANISH DANCER NO.1 - 1923 Etching and aquatint, Print No. 1, signed and inscribed in pencil to margin image size 27cm x 21.5cm (10.75in x 8.5in) Laura Knight is an artist of exceptional importance to the development of modern British art. Knight lived and painted in the artist colonies of Staithes in North Yorkshire and Newlyn in Cornwall, before moving to London in 1919. Her time outside the capital allowed her to develop her style, which reached maturity during her time in Cornwall. Knight achieved particular renown for her depictions of London's circus, ballet and theatre companies. She was the first woman artist elected to full membership of the Royal Academy.
Los 396
Cruikshank (Isaac, Robert 1789-1856) Making the Sailor and Odd Fellow!!, etching with hand colouring, published Thomas Tegg 1806, G.M. Woodward, 21.5 x 33 cm (PL), frame 33 x 43 cm, together with a further Cruikshank print titled 'The Sailors Defence' (2). Also a hand coloured etching by James Gillray (1757-1815) Charming - Well Again, published by H Humphrey 1804, 26 x 21 cm, frame 35 x 27 cmTotal (3)
Los 167
Sir Peter Markham Scott (British, 1909-1989) etching of a flock of Canada geese in flight, numbered 5 and twice signed to the lower right, 23cm x 28cmNote: Wildlife artist, naturalist, sailor and Olympian (Berlin Olympics 1936). Son of Captain Robert Falcon Scott (1868-1912) (famously took part in the race to claim the South Pole in 1911, but failed and died on his return) and sculptor Kathleen Scott (1878-1947). In 1946, Scott set up the Severn Wildfowl Trust (later the Wildfowl and Wetlands Trust) in Slimbridge, Gloucestershire, to study swans, geese and ducks. In the 1950s, Scott helped establish the BBC's natural history unit and hosted programmes. In 1961 he co-founded the World Wildlife Fund (later the World Wide Fund for Nature). Knighted in 1973. Print appears slightly concaved. Unidentifiable foreign objects behind the glass. Some foxing to the edges of the mount and to the verso. With signs of wear consistent with age and use. Tape or paper attached to the verso. Label attached to the verso.
Los 168
Rowland Hilder (American-born/British, 1905-1993)'Autumn Evening', etching, numbered 27/175 to the lower left, signed to the lower right, 21cm x 25cm Plate appears slightly concaved. With foxing. With signs of wear consistent with age and use. Tape and label attached to the verso. Please note we have not removed this from its frame to examine.
Los 141
After Rembrandt van Rijn (Dutch, 1606-1669)'Landscape with a Cottage and a Haybarn', etching, signed and dated Rembrandt 1641, 13cm x 32.5cm With signs of wear consistent with age and use. With time/UV fade. With potential foxing. The back of the frame/mounting/etching/glass has become somewhat detached from the frame itself. Pins in the back of the frame. Some water damage/staining to the verso. Etching is slightly cockled. Please note that we have not removed this from its frame to examine.
Los 165
Laura Phillips (20th/21st Century British School)'Moorland Sheep', etching and aquatint, numbered 152/250, 9cm x 10cm Plate is concaved. Unidentifiable foreign object behind the glass. With evidence of old label on the glass. With signs of wear consistent with age and use. Please note that we have not removed this from the frame to examine. Tape and label attached to the verso. The verso has been written on in pencil.
Los 312
Sir Edward Coley Burne-Jones Bt. ARA RWS (British, 1833-1898) Vespertina Quies, 1897etching on vellum by Emile Boilvin (1845-1899)hand-signed by the artist and engraver in pencil published by Arthur Tooth & Sons, with blindstamp40 x 23cm, unframedOverall in good, clean condition with no tears or damage. Not laid down. Margins appear full, light mount burn to the outer edges.
Los 1071
A collection of books mainly literature to include Baroness Orczy The Scarlett Pimpernel, numerous; In Connection with the De Willoughby Claim, Frances Hodgson Burnett, Frederick Warne and Co 1899, First,Signature of author; Jock of the Bushveld, Sir Percy Fitzpatrick, E Caldwell Longmans, Green and Co, 1908, No details of impression - or editionFirst 1907; Jude The Obscure, Thomas Hardy, Etching by H Macbeth-Raeburn, Osgood, McIlvaine and Co 1896, First.
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78475 Los(e)/Seite