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78475 Los(e)/Seite
Los 283
WILLIAM STRANG (1859-1921) 'THE FORTUNE TELLER', an etching depicting three figures standing on a country path, signed and dated (18)82 in the plate, approximate size 20.5cm x 17cm excluding margins, Condition Report: very light foxing toward the bottom of the print, mount burn evident to the margins, frame marked (PROVENANCE: The Arnold Fellows Collection)
Los 289
JOHN LAVIERS WHEATLEY (1892-1955) 'OLD ROGERS', a dry point etching depicting a profile portrait of an old man, signed to lower margin, approximate size 28cm x 18.5cm including visible margins, Condition Report: good condition (artist resale rights apply) (Provenance: The Arnold Fellows Collection)
Los 113
LISA KHO (CONTEMPORARY) - 'RUMAH SYED AL-ATTAS' 2001 Etching, titled, signed, numbered 15/20 and dated 2001 to the margin Plate size 19 x 14cm , the frame 51 x 44cm Condition: For a condition report or further images please email hello@hotlotz.com at least 48 hours prior to the closing date of the auction. This is an auction of preowned and antique items. Many items are of an age or nature which precludes their being in perfect condition and you should expect general wear and tear commensurate with age and use. We strongly advise you to examine items before you bid. Condition reports are provided as a goodwill gesture and are our general assessment of damage and restoration. Whilst care is taken in their drafting, they are for guidance only. We will not be held responsible for oversights concerning damage or restoration.
Los 149
Maggi Hambling (b.1945)"A hunchback wandered by the bare earth"Signed, inscribed and numbered 5/6, etching and aquatint, 26.5cm by 26cmPin hole to each of the top corners. Cockling to the paper. Some time staining in evidence, in particular to the margins. Areas of glue to the upper and lower margins where the work has been glued to the mount at some stage. See images. Some light surface dirt and debris trapped under the glass. Crease approximately 4cm to the lower right through the lower section of the tree.
Los 121
Edward Bawden CBE, RA (1903-1989)"Redcliffe Road"Signed, inscribed and numbered 7/40, etching, 18cm by 12cmSlight time staining to the paper. The odd very small sporadic scattered foxing spot in evidence. Some light surface dirt and debris trapped under the glass with the odd thunder fly tapped to the mount. Not examined out of the frame.
Los 137
Dame Laura Knight RA, RWS, RE, RWA, PSWA, DBE (1877-1970) Bareback rider Signed, etching, 26.5cm by 13.5cmSlight time staining to the paper. Very slight cockling to the paper. Some very light surface dirt and debris trapped under the glass. Appears in good overall condition. Not examined out of the frame.
Los 1800
DALÍ, SALVADOR (1904 - 1989), "Le Christ de Saint-Jean-de-la-Croix" (Christus des Hl. Johannes von Kreuz), Radierung handkoloriert auf Japanpapier, im unteren Teil handsigniert und mit der Exemplarnummer versehen: „214/450“, darunter abgedruckt ein typografischer Text mit Datierung 1982 und Copyrightverweis auf die Glasgow Museums & Art Galleries, die Serie wurde zum 80. Geburtstag von Salvador Dalí aufgelegt und jedes Exemplar mit einem Modellrahmen mit Blattsilberauflage gerahmt. HxB: 64,5/40 cm (104/75 cm mit Rahmen). Sehr guter Zustand. Anbei eine Dokumentenmappe u. a. mit einer Echtheitsbescheinigung des Glasgow Museums & Art Galleries.| DALÍ, SALVADOR (1904 - 1989), "Le Christ de Saint-Jean-de-la-Croix" (Christ of St. John of the Cross), Etching hand-coloured on Japanese paper, signed by hand in the lower part and with the copy number: "214/450", below a typographical text dated 1982 and copyright reference to the Glasgow Museums & Art Galleries, the series was published on the occasion of Salvador Dalí's 80th birthday and each copy framed in a model frame with silver leaf. HxW: 64,5/40 cm (104/75 cm with frame). Very good condition. Enclosed is a document folder with, among other things, a certificate of authenticity from the Glasgow Museum & Art Galleries.
Los 206
A rare antique Islamic 18th century Persian carved wood etching block. The block has Persian writing and has one crack due to age, that has since been restored.The dimensions are 20 by 11,5 cm.Provenance: This object is from a Long Island, New York Home. It was part of the collection of an American diplomat who spend some time in Iran.
Los 129
Pogány (Willy).- Omar Khayyám. The Rubaiyat Of Omar Khayyam, one of 750 copies from an edition limited to 1250, illustrated by Pogány, with an original etching signed by the artist, 12 tipped-in colour plates, illustrations, ink ownership inscription to front endpaper, light spotting to half-title, otherwise a couple scattered, original crushed teal morocco, decoratively gilt, uncut, within original card box with paper title label to edge, one corner torn, 4to, 1930.
Los 86
NO RESERVE Detmold (Edward Julius) Monkey stealing a feather from a cockatoo, etching, drypoint, aquatint, signed and inscribed 'Early state' in pencil within the margin, platemark 205 x 335 mm (8 1/8 x 13 1/4 in), sheet 245 x 370 mm (9 5/8 x 14 1/2 in), under glass, framed, [mid-20th century]
Los 519
JAMES JACQUES JOSEPH TISSOT (FRENCH 1836-1906) LE FOYER DE LA COMÉDIE-FRANÇAISE PENDANT LA SIEGE DE PARIS (WENTWORTH 27) Etching, 1877, from the edition of circa 100 Sheet 38 x 28cm (15 x 11in.)Provenance: Christie's, Australia, The Contents of Bronte House, Sydney, 9 December 2003, lot 210, where purchased by Robert KimeExhibited: Lucien Henry Exhibition
Los 585
λ DAVID HOCKNEY (BRITISH B. 1937) THE FRENCH SHOP (SCOTTISH ARTS COUNCIL 122, TOYKO 112) Etching with aquatint, 1971 Signed, dated and numbered XXVIII/LX A/P (aside from the edtion of 500), printed by Shirley Clement at the Print Shop, Amsterdam, published by the Observer, London, on wove paper Plate: 53.5 x 45cm (21 x 17½ in.) Condition Report: Executed on white wove paper. Hinged to the mount at two point along the upper edge. A few light handling creases to the margins and a couple of light handling marks one to the lower left margin just outside the image and another to the margin, upper right. A small loss to the sheet in the upper most left hand edge at the corner. Glazed and framed. Image in otherwise good original condition. Sheet size: 75.5 x 64cm, please note the sheet appears to be trimmed. Condition Report Disclaimer
Los 586
λ DAVID HOCKNEY (BRITISH B. 1937) RUE DE SEINE (SCOTTISH ARTS COUNCIL 121, TOKYO 111) Etching with aquatint, 1971-72 Signed and dated in pencil, numbered 23/150, published by Petersburg Press, London, on J. Green mould-made paper, with full margins Plate: 53 x 43cm (20¾ x 16¾ in.) This work was published in May 1972 and was one of three original editions donated by the artists, Jim Dine, Richard Hamilton and David Hockney in aid of the National Council for Civil Liberties and Release. Condition Report: On white wove paper with deckled edges. Hinged at two points along the upper edge. A few light foxmarks to the margins. Some discolouration to the sheet along extreme edges. The verso with some light staining notable to the lower right edge not visible recto. Glazed and frame. Image appears to be in good original condition. Sheet size: 89 x 70.5cm Condition Report Disclaimer
Los 637
λ DAVID JONES (BRITISH 1895-1974) HORSES GRAZING; TWO FAWNS SITTING; SLEEPING FAWN; BIG CAT; CAT RESTING Etching Each signed (lower right) and numbered 15/20; Ed 20; 1/20; 4/20; 3/20 respectively (lower left) Born on 1st March 1896 in Brockley, Kent, David Jones navigated the realms of painting, illustration, poetry, and engraving with equal brilliance. He was a true polymath, integrating his various artistic pursuits into a singular and distinctive style that defied categorisation. In 1909, at the age of fourteen, Jones entered the Camberwell School of Art, however at the outbreak of the First World War he enlisted in the London Welsh Battalion of the Royal Welch Fusiliers and spent 1915 to 1918 fighting at the front in France and seeing action at Ypres in the Battle of Passchendaele. The horrors and traumas of war profoundly influenced his work, and themes of sacrifice, mortality, and spirituality became central to his artistic expression. His deep Catholic faith, nurtured from an early age, also played a significant role in shaping his artistic vision. In January 1921, Jones joined the Ditchling Guild of St Joseph and St Dominic, founded in 1919 by Hilary Pepler and Eric Gill as a religious fraternity for craftsmen. It was here that he learnt wood engraving and during the winter of 1924 he spent Christmas with Gill at the monastery at Capel-y-ffin, Abergavenny. Rediscovering his Welsh roots, Jones spent most of the next three years painting the rugged landscape of the Black Mountains. Dr Paul Hills comments on his work of this period: "The move from the relaxed, ample curves of the Sussex Downs...to the irregular inflexions of the Welsh hills and coast, effected a release from the borrowed idiom in which he had been working. In an autobiographical talk he told how he discovered, between 1924 and 1926, a fruitful direction for his work, particularly under `the impact of the strong hill-rhythms and the bright counter-rhythms of the "afonydd dyfroedd" (water-brooks)'. (Exhibition catalogue, David Jones, Tate Gallery, London, 1981, p.24) As a painter, Jones excelled in capturing the essence of landscapes, often infusing them with a sense of mystical beauty and symbolism. His works exhibited a meticulous attention to detail and a mastery of techniques, blending elements of traditionalism with modernist influences. Whether depicting natural scenes, religious imagery, or historical events, his paintings possessed an ethereal quality that is as relevant and contemporary today as it was when painted. Condition Report: All n overall good original condition. Some light undulation to the sheets and some light foxing to the lower margin of 'Cat Resting'. Under glass and unexamined out of frames.Condition Report Disclaimer
Los 251
VALERIE THORNTON (ENGLISH, 1931-1991) 'St. Benoit sur Loire', etching and aquatint, limited edition 1/45, titled lower centre, signed and dated '[19]89' in pencil lower right, 56cm x 38cm. Condition Report : Good condition. Condition reports are offered as a guide only and we highly recommend inspecting (where possible) any lot to satisfy yourself as to its condition.
Los 256
PHIL GREENWOOD, R.E. (WELSH, B.1943) 'Wicken Fen', etching and aquatint, artist's proof, titled lower centre, signed and dated '[19]87' lower right, with Bohun Gallery (Henley-on-Thames) label verso, 41cm x 46.5cm; together with 'Lleyn Sunset', etching and aquatint, artist's proof, titled lower centre, signed and dated '[19]80' lower right, 34.75cm x 48.5cm, (2). Condition Report : Generally good condition; 'Wicken Fen' lightly foxed. Condition reports are offered as a guide only and we highly recommend inspecting (where possible) any lot to satisfy yourself as to its condition.
Los 363
λ DAVID JONES (BRITISH 1895-1974) PIETA Etching Signed and dated '26' (lower right) numbered '2-20' (lower left) Plate 15 x 12cm (5¾ x 4½ in.)Born on 1st March 1896 in Brockley, Kent, David Jones navigated the realms of painting, illustration, poetry, and engraving with equal brilliance. He was a true polymath, integrating his various artistic pursuits into a singular and distinctive style that defied categorisation. In 1909, at the age of fourteen, Jones entered the Camberwell School of Art, however at the outbreak of the First World War he enlisted in the London Welsh Battalion of the Royal Welch Fusiliers and spent 1915 to 1918 fighting at the front in France and seeing action at Ypres in the Battle of Passchendaele. The horrors and traumas of war profoundly influenced his work, and themes of sacrifice, mortality, and spirituality became central to his artistic expression. His deep Catholic faith, nurtured from an early age, also played a significant role in shaping his artistic vision. In January 1921, Jones joined the Ditchling Guild of St Joseph and St Dominic, founded in 1919 by Hilary Pepler and Eric Gill as a religious fraternity for craftsmen. It was here that he learnt wood engraving and during the winter of 1924 he spent Christmas with Gill at the monastery at Capel-y-ffin, Abergavenny. Rediscovering his Welsh roots, Jones spent most of the next three years painting the rugged landscape of the Black Mountains. Dr Paul Hills comments on his work of this period: "The move from the relaxed, ample curves of the Sussex Downs...to the irregular inflexions of the Welsh hills and coast, effected a release from the borrowed idiom in which he had been working. In an autobiographical talk he told how he discovered, between 1924 and 1926, a fruitful direction for his work, particularly under `the impact of the strong hill-rhythms and the bright counter-rhythms of the "afonydd dyfroedd" (water-brooks)'. (Exhibition catalogue, David Jones, Tate Gallery, London, 1981, p.24) As a painter, Jones excelled in capturing the essence of landscapes, often infusing them with a sense of mystical beauty and symbolism. His works exhibited a meticulous attention to detail and a mastery of techniques, blending elements of traditionalism with modernist influences. Whether depicting natural scenes, religious imagery, or historical events, his paintings possessed an ethereal quality that is as relevant and contemporary today as it was when painted. Condition Report: Unexamined out of glazed frame. Appears to be in good original condition. Condition Report Disclaimer
Los 68
AFTER REMBRANDT VAN RIJN THE FLIGHT INTO EGYPT: CROSSING A BROOK Etching with drypoint, 1654, but a later impression of the only state, printing with plate tone 9 x 14cm (3½ x 5½ in.) Condition Report: The sheet with some light surface dirt. Otherwise the work appears to be in good condition commensurate with age. Unexamined out of glazed frame.Condition Report Disclaimer
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78475 Los(e)/Seite