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78472 Los(e)/Seite
Los 319
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 528
19th Century School, A Portrait of Robert Burns in his Masonic Regalia, after the etching by Charles Ewart possibly based on portraits of the artist by Alexander Nasmyth and William Stewart Watson, inscribed top left "Depute Master of St James' Lodge, Tarbolton Lodge, No. 135", oil on canvas, in a gilt-composition frame moulded with flowers and foliage. 74cm by 62cm
Los 226
A Collection of Edinburgh original etchings and engravings to include an original etching by C.H. Clark- Princess St Edinburgh, Queen Mary's Bath House and White Horse Close signed by William Brown, 'Castle Esplanade, Edinburgh' original etching by J McKay, F.W. Simon- Grass market, Coloured etching of 'The Scott Monument' signed by the artist, 'The University, Edinburgh' and 'John Knox's House' by Alex Wilson
Los 296
A Collection of original etchings and engravings to include 'Mont St Michel' signed by the artist. Watercolour depicting building, statue and tourists- signed by the artist, 'The end of the Forty Five Rebellion' drawn and etched by W.B. Hole. Etching of John Knox's house Edinburgh by G Goodway. Venice by D. Y. Cameron- signed original etching. Edinburgh Castle by Reginald Green and Edinburgh [Tolbooth] by G Goodway.
![Albany E. HowarthOriginal etching ''Falls Of Dochart''Signed and titled[52x62cm]](https://cdn.globalauctionplatform.com/639648c1-8f4f-44b4-997c-afeb00d527a6/6cbd1c1c-086a-4b69-96e1-afeb012415a3/468x382.jpg)
![Original etching depicting entrance to the shrine of the Scottish National War Memorial.Signed Albany E.Howarth[58x40cm]](https://cdn.globalauctionplatform.com/639648c1-8f4f-44b4-997c-afeb00d527a6/2b969249-b1ff-4fac-a9d1-afeb012aa85a/468x382.jpg)
![Louis Whirter RSA (1873-1932)Original etching depicting a street scene from Edinburgh.Signed by artist.[60x47cm]](https://cdn.globalauctionplatform.com/639648c1-8f4f-44b4-997c-afeb00d527a6/419fe500-788d-458d-a8c8-afeb012aad4e/468x382.jpg)
Los 131
§ Geoffrey Clarke R.A. (British 1924-2014) Artist Series: The Artist’s Progression, The Artist and Participation, or Mutual Thought, 2000 each signed, dated, and numbered 12/25, 10/25 and 6/25 respectively, etching on zinc, two etching and aquatint, commissioned by Strand Gallery and printed by St. Barnabas PressDimensions:25cm x 15.5cm (10in x 6 1/4in), 17.5cm x 14.5cm (6 7/8in x 5 5/8in) and 19cm x 12.5cm (7 1/2in x 4 7/8in) respectively, unframedProvenance:ProvenancePrivate Collection, UK. Note: LiteratureJudith LeGrove, Geoffrey Clarke: A Sculptor's Prints, Bristol, 2012, no. 209, 210 and 211. Innovative sculptor Geoffrey Clarke (1924 – 2014) experimented readily with materials throughout his lifetime, moving away from a figurative focus which for many years dictated his study to a more abstract direction. His fearless experiments and bold sculptures epitomised the vivacity of the post-war art scene in Britain. A graduate of London’s Royal College of Art, Clarke was acknowledged as one of the few British sculptors who actively encouraged the practice of cooperation and synergy between sculptors and architects. Characteristically monumental and large in scale, his output notably included the combined use of aluminium, stained glass, mosaic and enamel.Taking advantage of the post-war architectural boom, Clarke was known in his early years for his iron, wire and plaster works. One of the first artists to use welding in his sculptures, Clarke experimented readily with processes, trialling different modes of making which were both more cost and time effective. Often building an initial ‘skeleton’ in his sculptures, his process was undeniably influenced by anthropomorphism. Reducing the human figure to a curvilinear sculpture in his work, this technique remained in line with the rise of sculptors looking to develop a more meaningful sculptural language.In 1952, Clarke’s fame was cemented when he was selected by the Arts Council for the inclusion in the landmark exhibition of British sculpture at the Venice Biennale. Attaining several subsequent awards in the years which followed, Clarke rapidly became one of the most frequently commissioned architectural sculptors of the mid-twentieth century. A notable public commission being his work on the windows of Coventry Cathedral, which showcased his stained-glass abilities.
Los 206
§ Sandra Blow R.A. (British 1925-2006) Upward Movement numbered 2/20 (lower left), with artist's estate stamp, etching with aquatintDimensions:37.5cm x 37.5cm (14 3/4in x 14 3/4in)Note: A trailblazer of 1950s abstraction, British painter Sandra Blow provided an undisputed contribution to the development of post-modernist painting in post-war Britain. Her characteristically large scale, colourful collages were mostly produced using discarded non-art materials. Drawing attention due to this unusual usage of abstract mediums, notably sawdust, sackcloth and plaster, Blow’s unique manner grew her popularity swiftly within the art world. While travelling Europe her experimentation was encouraged by artists such as partner Alberto Burri, from who Blow adopted this idea of incorporating atypical materials, experimenting with the raw sensuality of such forms.Blow’s most influential paintings were produced during the latter half of the 20th century, where her practice took clear inspiration from time spent between Italy and Cornwall. Working in a process led and intuitive way, she became known as a pioneer of the use of dynamic perspective, a technique which grew in concurrent popularity with abstract expressionism. Coupling dynamic and geometric forms, her awareness of perspective gave the works a tactile, energetic feel. Using multi-dimensional materials in partnership with paint her artistic concerns stretched to the consideration of proportion and tension.
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78472 Los(e)/Seite