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78472 Los(e)/Seite
Los 29
James Arthur O'Connor (1792 - 1841) A Clearing in a Forest with Figures on a Path by a Stream Oil on canvas, 72.5 x 93.5cm (28½ x 36¾") Signed and dated 1825One of the largest and most impressive works by the artist to come to market in recent decades – and prior to its rediscovery in a French private collection unknown to scholars and collectors alike – this is a truly magnificent example of Irish landscape art, unusual both in the grandeur of its conception and the bravura handling of paint in its execution. Impressive in scale, the landscape is at the same time a masterpiece of detail, palette and texture. It is perhaps best described as symphonic in the complex richness of its multi-layered surface but somehow the disparate elements coalesce into a harmonious and pleasing whole.The mid-1820s was a period of both consolidation and on-going experimentation in O’Connor’s landscape art. He had arrived back in London by early 1822 and soon met with success with his pictures exhibited at the Royal Academy and the British Institution. A sketchbook of 1822 (National Gallery of Ireland) shows his travels around the south of England in search of subject matter while in 1824 he experimented with etching. O’Connor was an artist in constant need of inspiration from the physical world. He expressed this eloquently in relation to the Irish landscape that he loved so well: ‘I am about [to go] to the wild and beautiful scenery of my native country to refresh my memory, and get some studies to help me in future exertion of my profession – I know I will be benefited by a sight of the grand....scenery that I will meet with in Ireland and hope to show it on canvas’.Through the early ‘20s he continued to paint Wicklow landscapes. In 1825 in a work in the Victoria and Albert Museum, London, he revisited the Westport subject matter with which he had engaged in the previous decade and here again memories of Ireland are clear, if less topographically specific with the rocky stream inevitably reminding of his beloved Dargle River. This is one of a series of generally serene compositions showing travellers on a path by a wood including another landscape of 1825 (Gorry Gallery, 2023) and a work of the following year in Nottingham Castle Museum. However, it surpasses all other works of the 1820s in the intricate complexity of its pattern making as various paths penetrate the picture plane. The play of light and shade as the eye is drawn by human activity into the forest – and back again – is only matched by the subtlety variegated palette as autumn imparts golden richness of tone to the verdure. James Arthur O’Connor, was born in 1792 at 15 Aston’s Quay, Dublin, the son of an engraver and print seller. He first exhibited with the Society of Artists in 1809 when he showed The Card Players. This subject piece was to be something of a false start as his interests thereafter were to lie almost exclusively in landscape, and specifically the Irish scenery which he loved. The artist was, however, to spend a large part of his career in England, also making several extended tours of the continent. Together with Francis Danby and George Petrie, he travelled to London in 1813, but returned the following year to care for his orphaned sisters. His first great series of topographical landscapes was of Westport, executed for the Marquis of Sligo in 1818/19 (private collection). To the same years can be dated the impressive series of Ballinrobe house and demesne (NGI). Although he met with some initial success at home (winning a premium of twenty five guineas from the Royal Irish Institute), in, or about, 1821 O’Connor returned to London and, over the following years, he exhibited landscapes at the Royal Academy, the British Institution and the Society of British Artists, of which he was elected a member.In 1825, the year he painted this large work, O’Connor moved to Hampstead where his friend Danby, as well as John Constable, were neighbours and the following year he spent at least six months in Brussels where, it seems, he painted a rather atypical view, The Field of Waterloo (private collection). While his correspondence shows that he was acutely aware of the innovations in landscape painting of both Constable and Turner, it is also tempting to hypothesize continental influences. Indeed, O’Connor made several trips to Europe, meeting with some success in Paris, where he was apparently patronized by King Louis Phillipe. Indeed, given the longstanding French provenance of this notably distinguished work it is likely that it was one of the works that O’Connor brought with him to the continent in the 1820s as a calling card to showcase his art. Certainly it can be viewed as a summation of the different strands within his art up to this point and the proud, even programmatic nature of the signature argues for the significance that O’Connor afforded to the painting. However, from about 1833 failing eyesight and general ill health curtailed O’Connor’s career, although he was greatly helped by a generous commission from Sir Charles Coote of Ballyfin, which was paid for in advance. O’Connor died in poverty in London in 1841. His fellow artists, led by his compatriot the President of the Royal Academy Sir Martin Archer Shee, organized a subscription for his widow.O’Connor’s obituary in the Dublin Monthly Magazine for Apr his character and art. ‘O’Connor was a man of simple, quiet, unsophisticated feelings, alive to the simple charms of nature, and awake to her slightest impulses. He was impressed by her sublimity and grandeur and artificially cultivated scenery was not to his taste’. O’Connor is one of the most capable and interesting of all Irish landscape painters, and comes close to matching the achievements of the eighteenth-century school: as one of his earliest biographers put it, ‘he was a poet with the brush, and exquisitely reproduced the impressions inspired by the more romantic and solemn aspects of nature’. It is pleasing that this, one of his lost masterpieces, has finally been identified and indeed has been repatriated to Ireland after its long sojourn in France.
Los 87
Roderic O'Conor (1860 - 1940) Landscape with Breton Cottage Etching, 130 x 270mm (5 x 10½") Signed 'R O'Conor' and dated (18)'93Original plate sold Drouot, Paris 17th Nov. 1975, this restrike by Paul Proute, c.1981 in an edition of 100 with title Paysage a la Chaumiere Brettonne.Provenance: With Galerie Proute, Paris.Literature: Roderic O’Conor Catalogue de L’Oeuvre Grave - The Prints of Roderic O’Conor 1870 - 1940, Roy Johnston, Musée De Pont-Aven, pp.21 - 22J. Benington, Roderic O’Conor, cat. no. 420, p.235
Los 641
Pietro Fabris (Italian, circa 1740-1792)Interior of Crater of Vesuvius with spectators, from the Campi Phlegraei, plate IX etching with handcolouring on laid paper21.3 x 39.2cm (8 3/8 x 15 7/16in).Footnotes:Fabris was commissioned by Britain's envoy to the Spanish court of Naples, Sir William Hamilton, to draw the surroundings and eruptions of Mount Vesuvius during the late eighteenth century. Vesuvius was a key site of interest for many Grand Tourists, seen as an essential element of the Napoli leg of the trip, despite its clear dangers. The fifty four illustrated plates formed the Campi Phlegraei: observations on the two Sicilies which was published in 1776.For further information on this lot please visit Bonhams.com
Los 223
Three pictures comprising an etching of the Houses of Parliament signed in pencil by D.M. Clark - 13x18cm, glazed and framed: 26x36cm, an Asian watercolour with a bird on a branch - 30x20cm, glazed and framed 42x32cm and an oil on canvas of a portrait of a lady marked with initials 'ZT' - 32x26cm, framed:41x34cm, mid 20th century. (3)
Los 1
Victor Pasmore (1908-1998)Metamorphosis (Linear Motifs), 1945/197641/55, signed with initials, dated, and numbered in pencil (in the margin)etching and aquatint published by Marlborough Graphics36 x 43cm. Print area appears in good condition. Tiny dent in margin 5cm to the left of initials. Some other very minor marks to margins. Framed and glazed.
Los 27
Julian Trevelyan (1910-1988)Etruriaartist's proof, signed and titled in pencil (in the margin)etching and aquatint59 x 79cm, unframed. Red pen letters to reverse and now showing through to left margin and also red pen ‘3’ to reverse and showing through to upper margin. Slight scuff marks and small tear to edges.
Los 309
‡ A COMPOSITE NORTH ITALIAN CORSELET WITH ETCHED DECORATION PARTLY BY THE 'MASTER OF THE CASTLE' OF MILAN, LATE 16TH CENTURY comprising morion in the ‘Spanish’ fashion, with one-piece almond-shaped crown rising at its apex to a vestigial backward-directed 'stalk' (pierced with a small later hole at its rear), and slightly down-turned narrow integral brim, its edge formed with a file-roped inward turn accompanied by a narrow groove with later rivets, the base of the crown encircled by fourteen later lining-rivets with brass rosette-washers; collar of a single deep plate front and rear; breastplate formed of a main plate of deep 'peascod' fashion, flanged outwards at its lower edge to receive a pair of associated pendent tassets each of four lames (altered to match and partly disarticulated); well-matched backplate flanged outwards at its base; two large symmetrical pauldrons (not a pair), each formed of seven lames of which the lowest four extend inwards only to the armpit (both partly disarticulated), two large symmetrical pauldrons (not a pair), each formed of seven lames of which the lowest four extend inwards only to the armpit (the uppermost two of each associated), a pair of fully articulated tubular vambraces, each fitted at its upper end with a turner of one lame, and at its elbow with a winged bracelet couter of three lames; and a pair of gauntlets each formed of a flared tubular pointed cuff (the right with small rust perforations), four metacarpal-plates (the third of the left cracked and patched at its inner end), a shaped knuckle-plate, and hinged thumb-plate (finger and thumb-scales missing); the main edges of the armour formed almost throughout with file-roped inward turns, the vambraces and gauntlets with file-roped secondary borders and its surfaces decorated with etching on a stippled and blackened ground, that of the morion consisting of eight radiating bands of trophies of arms framed by cabling within plain lines, and the brim with stylised acanthus foliage (areas of wear), and that of the remainder consisting of bands and borders of trophies of arms generally enclosed by narrow bands of cabling and enclosing in the interspaces and volutes on the fronts and rears of the pauldrons, busts and full-length figures of classical warriors, and involving at the neck-opening of the breastplate the device of a two-towered castle; on a wooden stand with base Provenance Joe Kindig Jr. (1898-1971), thence by descent The device of a castle etched at the neck-opening of the breastplate represents the signature of one of the most important Milanese armourers of the late 16th century, know to scholars today as the 'Master of the Castle'. It is possible that he, like his contemporary, Pompeo della Chiesa, was privileged to work in the Castello Sforzesco, residence of the Dukes of Milan. Other extant works bearing his signature include the fine garniture made for Wolf Dietrich von Raitenau, Prince Bishop of Salzburg, probably after 1587, and now divided between the Bayerisches Nationalmuseum, Munich, the Wallace Collection, London, and the Hermitage Museum, St Petersburg, as well as various armours preserved in the Museo Civico L. Marzoli, Brescia, the Real Armeria, Turin, the Real Armeria, Madrid, the Musée de l'Armée, Paris, and the Wallace Collection, London. See Beard 1924, pp. 11-12; Norman 1986, pp. 29, 32-3 & 36-7; and LaRocca 2000, pp. 181-97. A composite North Italian etched corselet with the same mark, formerly in the John Woodman Higgins Armoury Collection, Worcester Massachusetts, was sold in this room 7th May 2014, lot 138.
Los 44
Ben Nicholson O.M. (British, 1894-1982)Patmos Monastery, from Greek and Turkish Forms (Lewison 73) Etching, 1967, on wove paper, signed and dated in pencil, inscribed 'BN copy BOX artist's copy 5' in pencil verso, an artist's proof aside from the numbered edition of 50, printed by Atelier Lafranca, Lugano, with their blindstamp, co-published by Ganymed Original Editions, Ltd., and Marlborough Fine Art, London, with full margins, framedPlate 347 x 453mm (13 5/8 x 17 7/8in)Sheet 467 x 590mm (18 3/5 x 23 1/4in)This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Los 18
John Piper C.H. (British, 1903-1992)Dahlias and Ferns (Levinson 391) Etching in colours, 1987, on Arches wove paper, signed and numbered 6/100 in pencil (there were also ten artist's proofs), printed by Kelpra Studio, with their blindstamp, published by CCA Galleries, London, with full margins, framedPlate 407 x 550mm (16 x 21 3/4in)Sheet 585 x 710mm (23 x 28in)This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Los 22
John Piper C.H. (British, 1903-1992)Late Summer Flowers (Levinson 419) Etching and aquatint in colours, 1989, on wove paper, signed and numbered 51/70 in pencil (there were also 15 artist's proofs), printed by Kelpra Studio, with their blindstamp, published by Marlborough Fine Art, London, with full margins, framedPlate 410 x 545mm (16 1/8 x 21 1/2in)Sheet 585 x 708mm (22 x 27 7/8in)This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Los 7
Rembrandt Harmensz van Rijn (1606-1669)The Descent from the Cross by Torchlight (Bartsch 83; New Hollstein 286) Etching and drypoint, 1654, on laid paper, New Hollstein's third state (of four), with small margins, framedPlate 210 x 162mm (8 1/4 x 6 3/8in)Sheet 214 x 165mm (8 1/2 x 6 1/2in)For further information on this lot please visit Bonhams.com
Los 147
Damien Hirst (British, born 1965)Quene 1-AM Etching in colours, 2004, on wove paper, signed, dated, dedicated 'for Bradley I even love your foreskin ♡ XXX' and erroneously numbered 82/1004 in pencil (this is an edition of 100 with 20 artist's proofs), printed and published by Other Criteria, London, framed Plate 763 x 763mm (30 x 30in)Sheet 1151 x 1125mm (45 1/4 x 44 1/4in)Footnotes:ProvenanceGifted by the artist to the present owner.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Los 38
Henry Moore O.M., C.H. (British, 1898-1986)Mother and Child XV, from Mother and Child (Cramer 685) Etching with aquatint and roulette in colours, 1983, on Arches wove paper, signed and inscribed 'PL XV 3/65' in pencil, printed by James Collyer and John Crossley, London, with their blindstamp, published by Raymond Spencer Company Ltd. for The Henry Moore Foundation, Much Hadham, with full marginsPlate 208 x 295mm (8 1/4 x 11 5/8in)Sheet 437 x 515mm (17 1/4 x 20 1/4in)This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Los 39
Henry Moore O.M., C.H. (British, 1898-1986)Mother and Child XIX, from Mother and Child (Cramer 689) Etching, 1983, on Arches wove paper, signed and inscribed 'PL XIX 3/65' in pencil (there were also two proofs), printed by James Collyer and John Crossley, London, with their blindstamp, published by Raymond Spencer Company Ltd. for The Henry Moore Foundation, Much Hadham, with full marginsPlate 298 x 419mm (11 3/4 x 16 1/2in)Sheet 515 x 615mm (20 1/4 x 24 1/4in)This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Los 37
Henry Moore O.M., C.H. (British, 1898-1986)Mother and Child V, from Mother and Child (Cramer 675) Etching with aquatint and roulette in colours, 1983, on Arches wove paper, signed and inscribed 'PL V 3/65' in pencil, printed by James Collyer and John Crossley, London, with their blindstamp, published by Raymond Spencer Company Ltd. for The Henry Moore Foundation, Much Hadham, with full marginsPlate 280 x 213mm (11 x 8 3/8in)Sheet 515 x 448mm (20 3/8 x 17 1/4in)This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Los 69
Henri Matisse (French, 1869-1954)D. Galanis, 'Paysan' (Duthuit 70) Etching, 1915-16, on chine collé applied onto wove paper, signed and numbered 6/15 in black ink (there were also three proofs), with the artist's ink stamp verso, the full sheet, framedPlate 141 x 100mm (5 1/2 x 3 7/8in)Sheet 321 x 247mm (12 5/8 x 9 3/4in)This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Los 54
Patrick Heron (British, 1920-1999)Plate 10, from Brushworks Etching in colours, 1998-99, on Arches wove paper, estate-stamped with the artist's signature, numbered from the edition of 38 and signed by the artist's daughters Katherine and Susanna Heron in pencil verso, published by Charles Booth-Clibborn under his imprint at the Paragon Press, London, with full margins, framedPlate 438 x 580mm (17 1/4 x 22 3/4in)Sheet 670 x 795mm (26 3/8 x 31 3/8in)This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Los 82
Pablo Picasso (French, 1880-1972)Clin d'Å“il au Bain Turc Femmes Faisant La sieste au Soleil, from Series 347 (Bloch 1769; Baer 1786) Etching, 1968, on Rives BFK wove paper, signed and inscribed 'Épreuve d'artiste' in pencil, one of 17 artist's proofs aside from the numbered edition of 50, published by Galerie Louise Leiris, Paris, 1969, with full margins, framedPlate 280 x 389mm (11 x 15 3/8in)Sheet 452 x 542mm (17 3/4 x 21 3/8in)This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Los 157
Dame Paula Rego R.A. (British, 1935-2022)Peter in the Bird's Nest (Rosenthal 99) Etching and aquatint in colours, 1992, on Somerset wove paper, signed and numbered 25/25 in pencil (there were also 14 artist's proofs), printed by Paul Coldwell at Culford Press, with their blindstamp, co-published by Marlborough Graphics and the artist, London, with full margins, framedPlate 251 x 125mm (9 7/8 x 5in)Sheet 493 x 328mm (19 3/4 x 12 7/8in)This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Los 70
Henri Matisse (French, 1869-1954)Circé, from Ulysses (Duthuit 237) Etching, 1935, on wove paper, signed, titled and numbered 31/150 in pencil (there were also ten artist's proofs), published by The Limited Editions Club, New York, with full margins, framedPlate 283 x 218mm (11 1/8 x 8 1/2in)Sheet 418 x 320mm (16 1/2 x 12 5/8in)This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Los 49
Julian Trevelyan R.A. (British, 1910-1988)Chiswick (Low Tide) (Turner 87) Etching and aquatint in colours, 1957, on handmade Crisbrook wove paper, signed, titled and numbered 8/30 in pencil, printed by Richard Fozard, London, with full marginsPlate 490 x 375mm (19 1/4 x 14 3/4in)Sheet 781 x 561mm (30 3/4 x 22 3/8in)This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Los 118
Man Ray (American, 1890-1976)L'Aventure (Anselmino 36) Etching and aquatint in colours, 1972, on Arches wove paper, signed and numbered 44/90 in pencil, printed by Jaques David, Paris, published by Richard Binder Editeur, Brussels, with full marginsPlate 308 x 415mm (12 1/8 x 16 3/8in)Sheet 502 x 660mm (19 3/4 x 26in)For further information on this lot please visit Bonhams.com
Los 8
Rembrandt Harmensz van Rijn (Dutch, 1606-1669)Reclining Female Nude (La negresse couché) (New Hollstein 308; Bartsch 205) Etching and drypoint, 1658, on heavy laid paper, New Hollstein's final sixth state, with small margins, framedPlate 81 x 158mm (3 1/8 x 6 1/4in)Sheet 90 x 166mm (3 5/8 x 6 1/2in)For further information on this lot please visit Bonhams.com
Los 99
Wassily Kandinsky (Russian/French, 1866-1944)Zweite Radierung für Editions Cahiers d'Art (Roethel 196) Etching, 1932, on wove paper, signed in pencil, from the edition of approximately 100, published by Éditions Cahiers d'Art, Paris, with wide margins, framedPlate 298 x 238mm (11 7/8 x 9 3/8in)Sheet 400 x 318mm (15 3/4 x 12 1/2in)For further information on this lot please visit Bonhams.com
Los 162
Tracey Emin (British, born 1963)Cunnilingus Etching, 2013, on Somerset paper, signed, titled, dated and numbered 3/100 in pencil, published by Emin International, London, with full margins, framedSheet 355 x 370mm (14 x 14 1/2in)This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Los 211
Georg Baselitz (German, born 1938)Untitled (Schwarze Rosen) Etching and aquatint, 1999, on wove paper, signed, dated and numbered 26/50 in pencil, the full sheet, framedPlate 430 x 330mm (16 7/8 x 13in)Sheet 668 x 501mm (26 1/4 x 19 3/4in)For further information on this lot please visit Bonhams.com
Los 216
Janet Milner (British, born 1958)Slimmers Toffees; Too Sweet Aquatint and drypoint in blue, 2022, on Saunders Waterford wove paper, signed, titled, dated, and inscribed 'A/P' in pencil, one of two artist's proofs aside from the numbered edition of 15, printed and published by the artist, Rye, East Sussex, the full sheet, framed; together with 'Too Sweet', photopolymer etching with collagraph in colours, 2023, on Somerset Satin wove paper, signed, titled, dated and inscribed 'A/P' in pencil, an artist's proof aside from the numbered edition of 30, printed and published by the artist, Rye, East Sussex, the full sheet, framedSheet 300 x 250mm (11 3/4 x 9 7/8in)Sheet 390 x 385mm (15 3/8 x 15 1/8in)(2)Footnotes:Janet Milner's works are playful and often text-based. Milner celebrates 'randomness' and is interested in both controlled and accidental mark making. The immediacy of printing and the results of accidental mistakes that occur from this practice suit her painterly style. The artist's work focuses on turning what might be perceived as banal and unremarkable into something special. Milner is fascinated with the commonality of clutter and drawn to the detail of mundane experiences that surround identity and everyday life.The edition 'Slimmers Toffees' was selected for the Royal Academy Summer Exhibition 2023.For further information on this lot please visit Bonhams.com
Los 51
Julian Trevelyan R.A. (British, 1910-1988)Holy Ganges, from India Suite (Turner 205) Etching and aquatint in colours, 1968, on J. Green mould-made paper, signed, titled and numbered 1/75 in pencil (there were also 15 artist's proofs), printed and published by London Graphics, London, with their blindstamp, with full marginsPlate 472 x 350mm (18 5/8 x 13 3/4in)Sheet 782 x 584mm (30 3/4 x 23in)This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Los 103
David Hockney R.A. (British, born 1937)French Shop (MCA Tokyo 112; Scottish Arts Council 122) Etching with aquatint, 1971, on wove paper, signed, dated and numbered 115/500 in pencil, printed by the Print Shop, Amsterdam, published by the Observer, London, with margins, framedPlate 535 x 455mm (21 1/4 x 17 3/4in)Sheet 630 x 530mm (24 5/8 x 20 7/8in)This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Los 50
Julian Trevelyan R.A. (British, 1910-1988)Fruit Bats, from Africa Suite (Turner 191) Etching and aquatint in colours, 1966-67, on handmade Crisbrook wove paper, signed, titled and numbered 79/125 in pencil (there were also 18 artist's proofs), printed by London Graphics, with their blindstamp, published by Editions Alecto, London, with full marginsPlate 350 x 475mm (13 3/4 x 18 3/4in)Sheet 570 x 795mm (22 x 31 1/4in)This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Los 47
Dame Elisabeth Frink R.A. (British, 1930-1993)Man (Wiseman 137) Etching and aquatint in brown, 1986, on Arches wove paper, signed and inscribed 'A/P' in pencil, one of ten artist's proofs aside from the numbered edition of 100, printed by Kelpra Studio, London, with their blindstamp, published by Harpvale Books, Salisbury, with full margins, framedPlate 211 x 197mm (8 1/4 x 7 3/4in)Sheet 297 x 275mm (11 5/8 x 10 3/4in)This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Los 46
Dame Elisabeth Frink R.A. (British, 1930-1993)Running man (Wiseman 134) Etching in grey, 1985, on Arches wove paper, signed and inscribed 'A/P' in pencil, one of ten artist's proofs aside from the numbered edition of 30, printed by Kelpra Studio, with their blindstamp, published by Waddington Graphics, London, with full margins, framedPlate 211 x 200mm (8 1/4 x 7 7/8in)Sheet 410 x 380mm (16 1/8 x 15in)This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
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78472 Los(e)/Seite