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Los 46
WILLIAM WILSON WINTER Etching, signed to plate, inscribed ‘W. Wilson’, ‘Edward Holloway imp.’ and titled ‘York - Winter’ in pencil to margin, numbered ‘54’ verso plate size 16.5cm x 16.5cm (6.5in x 6.5in), unframedProvenance: William Wilson (1905-72) and thence by descent to the present ownerNote: William Wilson and Edgar Holloway (1914-2008) met in 1935. In 1936 the pair rented a cottage in Essex in 1936 where they set up a printing press.
Los 93
GERALD LESLIE BROCKHURST 6 ETCHINGS: CORINNE; SEULE; MAUREEN; STUDY FOR A DECORATION; FRANCIS MCNAMARA; HEAD OF A GIRL Etching, signed in plate, signed in pencil to margin;SEULE, Etching, signed in pencil to margin;MAUREEN, Etching, signed in plate, signed in pencil to margin;STUDY FOR A DECORATION, Etching, signed in pencil to margin;FRANCIS MCNAMARA, Etching, signed in plate, signed in pencil to margin;HEAD OF A GIRL, Etching, signed in plate, signed in pencil to margin (6) plate sizes: 14cm x 10cm (5.5in x 4in); 15cm x 17.5cm (6in x 7in); 11.5cm x 7.5cm (4.5in x 3in); 15.75cm x 12cm (6.25in x 4.75in); 12cm x 9.5cm (4.75in x 3.75in); 9.5cm x 7cm (3.75in x 2.75in) Private British collection Gerald Brockhurst’s primary muses were Anäis Folin and Kathleen Woodward. Both sat for numerous portraits and figure studies with the aid of lavish period-style costumes and props, often in whimsical guises inspired by the heroines of Shakespeare or Greek mythology.Anäis, Brockhurst’s first wife, was the defining muse of his early portraiture. For most of the First World War the couple lived in Ireland where they befriended the artist Augustus John. During this period Brockhurst predominantly produced paintings, and was encouraged by John to adopt a freer paint-application technique.Brockhurst had experimented with printmaking in the 1910s, but it was not until the early ‘20s that he committed to etching in earnest. In a market increasingly oversaturated with etchings of landscapes and urban views, Brockhurst concentrated on portraiture, many of which were transpositions of compositions he had painted in the late 1910s and early ‘20s. He soon achieved distinction for his rendering of skin, hair and textiles with astonishing naturalism. Each composition is imbued with a refined stillness, with flesh that appears almost to glow and to possess conceivable weight and mass.From 1928 Brockhurst joined the Royal Academy Schools as a visiting teacher and met the sixteen year old Kathleen Woodward, who went by ‘Dorette’. She became his new muse, and the pair later married.In 1939 the couple moved to America where Brockhurst enjoyed great acclaim. Commissions from prominent figures including Marlene Dietrich, The Duchess of Windsor and J. Paul Getty helped crystallise his legacy as one of the most important British portrait artists of the early twentieth century. A retrospective of Brockhurst’s portraiture was held at the National Portrait Gallery in London, the Graves Gallery in Sheffield and the City Art Gallery in his native Birmingham.
Los 129
JUNE CAREY MESSENGER Etching, 1/20, signed, numbered and inscribed with title to margin, housed in hand-drawn artist's frame, and a companion, a pair, ‘Do Not Speak’, Etching, 1/20, signed, numbered and inscribed with title to margin, housed in hand-drawn artist's frame (2) plate size 22.5cm x 22.5cm (8.75in x 8.75in) each
Los 91
JAMES ABBOTT MCNEILL WHISTLER R.B.A. (AMERICAN 1834-1903) SEYMOUR (KENNEDY 31; GLASGOW 30) - 1858/59 Etching, from the second state (of three) before the redrawing of the legs, signed and titled in plate plate size 13cm x 9.5cm (5in x 3.75in) This etching is believed to have been executed in autumn 1858 or spring 1859 when Whistler was staying in London at the Sloane Street home of Francis Seymour Haden Jr. (1850-1918). Haden Jr., the subject represented in this composition, was the eldest son of Whistler’s half-sister Deborah Delano Haden (1825-1908) and Sir Francis Seymour Haden (1818-1910). Literature:Edward G. Kennedy, The Etched Work of Whistler. New York, Grolier Club, 1910 (31)Howard Mansfield, A Descriptive Catalogue of the Etchings and Dry-Points of James Abbott McNeill Whistler. Chicago, Caxton Club, 1909 (32)Ralph Thomas, A Catalogue of the Etchings and Drypoints of J.A M. Whistler. London, John Russell Smith, 1874 (17)Sir Frederick Wedmore, Whistler’s Etchings: a Study and a Catalogue. London, Thibaudeau, 1886 (23)Whistler Etchings Project (30)
Los 96
GERALD LESLIE BROCKHURST 4 ETCHINGS: CHARLES CLAUDE CARPENTER - 1931; MR WIGGIN - 1932; MRS ALBERT H. WIGGIN - 1932; DR CHARLES LEE REESE Etching, signed and dated in plate, signed in pencil to margin;MR WIGGIN, Etching, signed and dated in plate, signed in pencil to margin;MRS ALBERT H. WIGGIN, Etching, signed and dated in plate, signed in pencil to margin;DR CHARLES LEE REESE, Etching, signed in plate, signed in pencil to margin (4) plate sizes: 30cm x 22cm (11.75in x 8.75in); 25cm x 18.5cm (9.75in x 7.25in); 25cm x 19cm (9.75in x 7.5in); 20cm x 16.5cm (8in x 6.5in), each unframed Private British collection Gerald Brockhurst’s primary muses were Anäis Folin and Kathleen Woodward. Both sat for numerous portraits and figure studies with the aid of lavish period-style costumes and props, often in whimsical guises inspired by the heroines of Shakespeare or Greek mythology.Anäis, Brockhurst’s first wife, was the defining muse of his early portraiture. For most of the First World War the couple lived in Ireland where they befriended the artist Augustus John. During this period Brockhurst predominantly produced paintings, and was encouraged by John to adopt a freer paint-application technique.Brockhurst had experimented with printmaking in the 1910s, but it was not until the early ‘20s that he committed to etching in earnest. In a market increasingly oversaturated with etchings of landscapes and urban views, Brockhurst concentrated on portraiture, many of which were transpositions of compositions he had painted in the late 1910s and early ‘20s. He soon achieved distinction for his rendering of skin, hair and textiles with astonishing naturalism. Each composition is imbued with a refined stillness, with flesh that appears almost to glow and to possess conceivable weight and mass.From 1928 Brockhurst joined the Royal Academy Schools as a visiting teacher and met the sixteen year old Kathleen Woodward, who went by ‘Dorette’. She became his new muse, and the pair later married.In 1939 the couple moved to America where Brockhurst enjoyed great acclaim. Commissions from prominent figures including Marlene Dietrich, The Duchess of Windsor and J. Paul Getty helped crystallise his legacy as one of the most important British portrait artists of the early twentieth century. A retrospective of Brockhurst’s portraiture was held at the National Portrait Gallery in London, the Graves Gallery in Sheffield and the City Art Gallery in his native Birmingham.
Los 94
GERALD LESLIE BROCKHURST 5 ETCHINGS: MARQUETT; HENRY BELL - 1930; PEPITA; A BALLYNAKILL WOMAN; A CONNEMARA PEASANT Etching, signed in plate, signed in pencil to margin;HENRY BELL, Etching, signed and dated in plate, signed in pencil to margin;PEPITA, Etching, signed in plate, monogrammed 'C. P.' in plate, signed in pencil to margin;A BALLYNAKILL WOMAN, Etching, signed in plate, signed in pencil to margin;A CONNEMARA PEASANT, Etching, signed in plate, signed in pencil to margin (5) plate sizes: 21.5cm x 17.5cm (8.5in x 6.75in); 21cm x 15.5cm (8.25in x 6.25in); 11.5cm x 11cm (4.5in x 4.25in); 14cm x 10.5cm (5.5in x 4.25in); 16.5cm x 11.5cm (6.5in x 4.5in), each unframed Private British collection Gerald Brockhurst’s primary muses were Anäis Folin and Kathleen Woodward. Both sat for numerous portraits and figure studies with the aid of lavish period-style costumes and props, often in whimsical guises inspired by the heroines of Shakespeare or Greek mythology.Anäis, Brockhurst’s first wife, was the defining muse of his early portraiture. For most of the First World War the couple lived in Ireland where they befriended the artist Augustus John. During this period Brockhurst predominantly produced paintings, and was encouraged by John to adopt a freer paint-application technique.Brockhurst had experimented with printmaking in the 1910s, but it was not until the early ‘20s that he committed to etching in earnest. In a market increasingly oversaturated with etchings of landscapes and urban views, Brockhurst concentrated on portraiture, many of which were transpositions of compositions he had painted in the late 1910s and early ‘20s. He soon achieved distinction for his rendering of skin, hair and textiles with astonishing naturalism. Each composition is imbued with a refined stillness, with flesh that appears almost to glow and to possess conceivable weight and mass.From 1928 Brockhurst joined the Royal Academy Schools as a visiting teacher and met the sixteen year old Kathleen Woodward, who went by ‘Dorette’. She became his new muse, and the pair later married.In 1939 the couple moved to America where Brockhurst enjoyed great acclaim. Commissions from prominent figures including Marlene Dietrich, The Duchess of Windsor and J. Paul Getty helped crystallise his legacy as one of the most important British portrait artists of the early twentieth century. A retrospective of Brockhurst’s portraiture was held at the National Portrait Gallery in London, the Graves Gallery in Sheffield and the City Art Gallery in his native Birmingham.
Los 95
GERALD LESLIE BROCKHURST 4 ETCHINGS: RANUNCULUS - 1921, ELIZABETH; PAQUITA; CHIQUITA Etching, signed in pencil to margin;ELIZABETH, Etching, signed in plate, signed in pencil to margin;PAQUITA, Etching, signed in plate, signed in pencil to margin;CHIQUITA, Etching, signed in plate, signed in pencil to margin (4) plate sizes: 20cm x 15cm (8in x 6in); 15cm x 10cm (6in x 4in); 14cm x 10.75cm (5.5in x 4.25in); 16cm x 13cm (6.25in x 5.25in) Private British collection Gerald Brockhurst’s primary muses were Anäis Folin and Kathleen Woodward. Both sat for numerous portraits and figure studies with the aid of lavish period-style costumes and props, often in whimsical guises inspired by the heroines of Shakespeare or Greek mythology.Anäis, Brockhurst’s first wife, was the defining muse of his early portraiture. For most of the First World War the couple lived in Ireland where they befriended the artist Augustus John. During this period Brockhurst predominantly produced paintings, and was encouraged by John to adopt a freer paint-application technique.Brockhurst had experimented with printmaking in the 1910s, but it was not until the early ‘20s that he committed to etching in earnest. In a market increasingly oversaturated with etchings of landscapes and urban views, Brockhurst concentrated on portraiture, many of which were transpositions of compositions he had painted in the late 1910s and early ‘20s. He soon achieved distinction for his rendering of skin, hair and textiles with astonishing naturalism. Each composition is imbued with a refined stillness, with flesh that appears almost to glow and to possess conceivable weight and mass.From 1928 Brockhurst joined the Royal Academy Schools as a visiting teacher and met the sixteen year old Kathleen Woodward, who went by ‘Dorette’. She became his new muse, and the pair later married.In 1939 the couple moved to America where Brockhurst enjoyed great acclaim. Commissions from prominent figures including Marlene Dietrich, The Duchess of Windsor and J. Paul Getty helped crystallise his legacy as one of the most important British portrait artists of the early twentieth century. A retrospective of Brockhurst’s portraiture was held at the National Portrait Gallery in London, the Graves Gallery in Sheffield and the City Art Gallery in his native Birmingham.
Los 51
WILLIAM WILSON CHURCH BY MOONLIGHT / LATTON PRIORY, ESSEX - 1936 Etching, 4/5, signed to plate, signed by the artist in pencil to margin, signed and numbered by Edgar Holloway (the printer) in pencil to margin, further inscribed with title in pencil to sheet lower edge, and a companion, ‘Latton Priory, Essex’ - 1936, etching, signed, inscribed with title and dated to margin by Edgar Holloway (the printer), further inscribed in pencil with title to sheet lower edge (2) 13cm x 10.5cm (5in x 4.25in); 18.25cm x 13.25cm (7.25in x 5.25in)Provenance: William Wilson (1905-72) and thence by descent to the present ownerNote: William Wilson and Edgar Holloway (1914-2008) met in 1935. In 1936 the pair rented a cottage in Essex in 1936 where they set up a printing press. Both artists made etchings of Latton Priory in 1936.
Los 497
A SMALL QUANTITY OF PAINTINGS AND PRINTS ETC, to include four Margarita Dorrity oils and watercolours, comprising a work titled 'The Swing' exhibited at the Royal Academy in 1977, oil on board, approximate size 60cm x 39cm, 'Marguerites' oil on board, approximate size 90cm x 44cm, a watercolour abstract study 'Winter Pleasure' and 'At rest at Eventide' coastal landscape, together with a Harry L. Woods (1877-1952) watercolour landscape with female figure walking towards a church, an unsigned coastal landscape titled 'Nr Lynmouth 1886', Ronald Basil Emsley Woodhouse (1897-1987) etching 'Mermaid St , Rye', Mabel Catherine Robinson mezzotint etching depicting a continental lakeside town, an indistinctly signed etching depicting 'Patio De Leones' fountain in Spain, assorted other pictures etc
Los 419
After Rembrandt van Rijn (1606-1669, Dutch), drypoint etching, 'Ermite', St Jerome Reading, signed indistinctly to the lower right, limited edition 123/360, framed and under glass, 28cm x 36cm overall, together with a 19th/20th Century school watercolour/gouache of a water mill, framed, mounted, and under glass
Los 127
THE GODFATHER (1972) - Hand-Numbered Timed Edition Giclee Variant Print by Paul Mann, 2022Bidding for this lot will end on Thursday 8th February. The auction will begin at 2:00PM GMT and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. A limited edition private commission Giclee print for Francis Ford Coppola's multi-Oscar-winning masterpiece The Godfather (1972). Mann's signature brushstroke technique is wonderfully displayed in this montage design featuring all of the film's key characters with the great addition of the distinctive'puppet master' title artwork. Presented here is the timed edition Variant printed on Fotospeed Platinum Etching paper and hand-numbered #145 out of 150. It won the Expresso Beans Art of the Week 11/23/22 award.24" x 36" (61 x 91 cm)Additional Information: Hand-Numbered #145/150Condition: Near Mint+Artist: Paul Mann£200 - 400VAT Status: MClick here for our Poster Auction Grading Guide
Los 58
BLADE RUNNER (1982) - Hand-Numbered Limited Edition Variant Print by Alfons Kiefer, 2023Bidding for this lot will end on Thursday 8th February. The auction will begin at 2:00PM GMT and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. "Man Has Made His Match...Now It's His Problem". Limited edition Variant print by artist Alfons Kiefer released in 2023 for Ridley Scott's innovative sci-fi film Blade Runner (1982). Kiefer has produced arguably one of the most impressive depictions of Harrison Ford as Rick Deckard pointing his LAPD 2019 blaster pistol. This 24 x 36 Variant version was released in a very limited run of 30, with this example being hand-numbered #8. The fine art Giclee print is presented on Fotospeed Platinum Etching paper and features a screen-printed spot gloss varnish layer.24" x 36" (61 x 91 cm)Additional Information: Hand-Numbered #8/30Condition: Near Mint+Artist: Alfons Kiefer£100 - 200VAT Status: MClick here for our Poster Auction Grading Guide
Los 186
Eduardo Chillida (1924-2002)Plate I, from José M. Ullán: Adoración (Koelen 77007)Etching and aquatint, 1977, signed in pencil, from the edition of 125, printed by Atelier Morsang, published by Robert & Lydie Dutrou, Paris, on Auvergne wove paper, with full margins, sheet 325 x 255mm (12 7/8 x 10in)
Los 187
Eduardo Chillida (1924-2002)Plate III, from José M. Ullán: Adoración (Koelen 77009)Etching and aquatint, 1977, signed in pencil, from the edition of 125, printed by Atelier Morsang, published by Robert & Lydie Dutrou, Paris, on Auvergne wove paper, with full margins, sheet 325 x 255mm (12 7/8 x 10in)
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78472 Los(e)/Seite