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Preisdatenbank abonnierenGEORGE REYNOLDS GILL (1827-1904) pencil drawing - Tintern Abbey ruins, entitled in pencil bottom right 'Abbey - Tintern Looking South', unsigned, 26 x 38cms together with coloured etching of the road from London to St. Davids, Pembrokeshire by Thomas Gardner, 18 x 28cmsComments: (1) framed and glazed, slight foxing to the top (2) framed and glazed, no problems
Michael Fairclough (b.1940)Seascape Signed and numbered 139/150, etching, together with a collection of further etchings and wood engravings, including Alison McKenzie, "Ode to the Nativity: Milton", Anne Jope, "An Artist's Dreams", Blair Rowlands Hughes-Stanton (1902-1981), "The Throne", illustration for The Revelation of St John, artist's proof, engraving, Libby Carreck, "Hedgerow" etc... (7)
A group of 6 portrait etchings and engravings, to include: Portrait of Arthur Nikisch, etching, indistinctly signed, 22 x 24.5cm; Felix Meseck, Portrait of Hans Meid, signed by sitter, 24 x 18cm; Thomas Cornell, self portrait, 20 x 17cm; Henri Guerard, Whistler's Portrait of Himself, 31 x 20.5cm; Portrait of Max Slevogt, signed indistinctly, 25 x 18cm; and another signed indistinctly, 17 x 14cm
A group of vintage silver earrings. The lot to include; enamel, cloisonne, beads, drop earrings, stud earrings, white metal, yellow metal, floral design, etching, purple stones, faux amber, white stones, hearts, blue stones, halo, pink stone, mother of pearl, orange stones & red stones. All marked 925, silver or test as silver. Total weight approx 40.1 g.
Henry Wilkinson (1921-2011) British, Two Pointers in a landscape, etching, numbered and signed in pencil, label verso, 10.5" x 13.75", (26.5x35cm) along with two Lurchers in a landscape, etching, numbered 29/150 and signed in pencil, label verso, 10.5" x 14", (26.5x35.5cm) and two Terriers in a landscape, etching, numbered and signed in pencil, 9" x 11.5", (23x29cm) (3).
A very rare and unusual Thomas Webb and Sons cameo glass 'tusk' vase, circa 1885in the Oriental manner, of gently curved tapering cylindrical form on a stepped base, the heavy glass delicately shaded with brown stain to imitate the appearance of old ivory, delicately carved with scrolling plants and flowers including hibiscus, chrysanthemums and grasses within geometric borders, etched THOMAS WEBB & SONS mark, 19.2cm highFootnotes:The design appears in the Ivory glass pattern book as number I290. The price archive lists this as a 7 1/2in vase with individual costs as 18/- for making, 18/6d for etching and 4/6d for painting. The vase sold for 50/-, representing a relatively small profit of 9 shillings. See Ray and Lee Grover, English Cameo Glass (1980), pp.227 and 419, no.S421. The original drawing is reproduced in A Facsimile of Thomas Webb & Sons' Pattern Books Principally for Cameo Glass by the Woodall Team (2000), published by Richard Dennis, p.45.For further information on this lot please visit Bonhams.com
* Barbault (Jean, 1718-1762). Vue des restes du Château de l'Eau Marcia, & Fragments Antiques (from Les Plus Beaux Monuments de Rome Ancienne), by Domenico Montagu after Barbault,1761, two etchings printed on one sheet of laid paper with a double encircled fleur de lys watermark, very good, atmospheric impressions, published by Bouchard and Gravier, with margins, in very good condition, a tiny brown spot at the upper right sheet corner, plate size respectively 26.2 x 26.3 cm (10 1/4 x 10 3/8 ins) and 8.8 x 16.5 cm (3 1/2 x 6 1/2 ins), sheet size 49.6 x 35.2 cm (19 1/2 x 13 7/8 ins), framed (59 x 47 cm); together with Hieronymus Cock (circa 1510-1570), Colossaei Roi Prospectus 3, circa 1550, etching on fine laid paper with a high crown watermark, with narrow margins, framed; plus J.C. Bellicard (1745-1780). Sepolcro di un Soldato, detto volgarmente di Nerone, from Vues de Rome, 1750, etching on laid paper, framed; and Pieter van Laer (1599-circa 1642), Dedicatory plate from Various Animals, 1636, etching on laid paper with a fool's cap watermark, the first state before the number, framedQTY: (4)
* Gillray (James, 1757-1819). "Ay, here's the Masculine to the Feminine Gender". Enter Cowslip with a Bowl of Cream..., H. Humphrey, June 13th 1795, etched caricature with contemporary hand-colouring, large margins, 345 x 245 mm, together with Operatical Reform - or - La Dance a l'Eveque, H. Humphrey, March 14th 1796, etched caricature with contemporary hand-colouring, torn with loss to the upper left corner, professionally repaired and restored, thread margins, 255 x 355 mm, with A Corner near Bank - or - An Example for Fathers -, H. Humphrey, Sept. 26th. 1797, etched caricature with contemporary hand-colouring, light overall toning, torn with loss to the lower right corner but not affecting the printed image, crudely repaired, 350 x 260 mm, plus Field Marshall Count Suwarrow-Romniskoy..., H. Humphrey, May 23rd 1799 [but later impression], uncoloured etching, trimmed to neatline, tipped on to later paper, 345 x 2145 mm, and Cruikshank (Robert). La Promenade, C. Tregear, 1828, etched caricature with contemporary hand-colouring, laid on later paper, 350 x 250 mmQTY: (5)
Hind (Arthur M.). The Etchings Of D. Y. Cameron, 1st edition, London: Halton And Truscott Smith, 1924, numerous monochrome illustrations & plates with tissue paper guards, some light offsetting, top edge gilt, original gilt decorated black cloth, large 8vo, together with:Garton (Robin), The Catalogue Raisonné of the Prints of Paul Drury, 1903-1987, 1st edition, London: Garton & Co., 1992, numerous monochrome illustrations, original cloth in dust jacket, 8vo, plusCampbell (Colin), William Nicholson, The Graphic Work, 1st edition, London: Barrie & Jenkins, 1992, numerous colour & monochrome illustrations, original cloth in dust jacket, 4to, andGaron (Robin), British Printmakers 1855-1955, A century of printmaking from the Etching Revival to St Ives, 1st edition, London: Garton & Co., 1992, numerous monochrome illustrations, original cloth in dust jacket, large 4to, plus other British print reference & related, some original cloth in dust jackets, some paperbacks & auction catalogues, G/VG, 8vo/4toQTY: (3 shelves )
The Fine Art Society. Catalogue of the Etched Work of Frank Brangwyn..., 1st edition, London, 1912, numerous monochrome illustrations, some light toning, original brown cloth with morocco spine label, slight rubbed, folio, includes an order form for The Etchings of Frank Brangwyn A Catalogue Raisonné, by William Gaunt, together with:Herkomer (Hubert), Etching and Mezzotint Engraving, Lectures Delivered at Oxford, 1st edition, London: Macmillan and Co., 1892, 13 monochrome etchings by the author, some spotting & toning, original white cloth, boards & spines toned & marked, large 8vo, plusO'Connor (John), Knipton, a Leicestershire village, limited edition, Risbury, The Whittington Press, 1996, signed by the author to the limitation page, 35 colour wood engravings, original cloth in slipcase, folio, 151/200, andSalaman (Malcolm C.), The Woodcut of To-Day At Home and Abroad, 1st edition, London: The Studio Ltd., 1927, colour &monochrome illustrations, advertisements to the front, some light toning & spotting, original wrappers, spine & rear cover slightly toned, large 8vo, plus other print & miscellaneous art reference, some leather bindings, many original cloth, some in dust jackets, some paperbacks, G/VG, 8vo/folioQTY: (6 shelves )
Robins (W. P.). Etching Craft, A Guide for Students and Collectors, 1st edition, London: The Bookman's Journal & Print Collector, 1922, monochrome illustrations, period inscription by the author to Malcom C. Salman to the the front endpaper, some light spotting, top edge gilt, original quarter vellum, spine slightly toned, large 4to, together with:Tuer (Andrew W.), Bartolozzi And his Works, 2 volumes, limited edition, London: Field & Tuer, circa 1882, period inscription by the author to Mrs Alfred Hunt to the front endpaper, colour & monochrome plates with tissue paper guards, ex-library copy with associated stamps & marks, top edge gilt, original gilt decorated full vellum, boards & spines slight rubbed & marked, large 4to, unnumbered copy of 500, plusKurth (Willi), The Complete Woodcuts of Albrecht Dürer, New York: Arden Book Co., circa 1930s, monochrome illustrations, some light marginal toning, original cloth, spine toned, large 8vo, and other print reference & related, including Lithography And Lithographers, by Joseph & E. Robins Pennell, London: T Fisher Unwin, 1898, folio, mostly original cloth, some in dust jackets, G/VG, 8vo/folioQTY: (5 shelves )
AFTER WILLIAM LIONEL WYLLIE "Thames scene with bridge and figure on barge in foreground", black and white etching, signed in pencil lower left, 25.5 cm x 37.5 cm, together with AFTER WILLIAM LIONEL WYLLIE "Various steam shipping", black and white etching, signed in pencil lower left, 10 cm x 34.5 cm
AFTER FRANK BRANGWYN (1867-1956) "Santa Maria" a study, copper etching on heavy cream woven paper, signed in pencil lower right centre circa 1907, image size 27 cm x 36 cm CONDITION REPORTS The glass is in need of a clean. Frame has surface scratches etc, otherwise there are a couple of small areas of foxing to the image itself, in particular in the top left hand corner. The paper is possibly discoloured but, if so, evenly throughout and the signature is below the mount, not been out of frame - see images for more details. General wear and tear coinducive with age and use
M.E. CASEY "Rural river landscape with flowers in foreground", oil on board, signed lower right, 19 cm x 24 cm, together with AFTER JO BARRY "Golden days", coloured etching, limited edition No'd. 66/150, signed, titled and No'd. to the margin, 10 cm x 10 cm and another by the same hand "Dog Rose", limited edition No'd. 90/150, 13 cm x 12 cm
After C Napier Hemy ARA, before the wind, signed in pencil and inscribed with artists name in the margin, etching. 40 x 55 cm (PL). CONDITION REPORT: This etching has considerable surface dirt and acid staining to the mount around the margin. It is stuck down within the frame and has not been examined out of the frame. There is brown staining throughout. No tears or losses visible from the front.
Hedley Fitton (1859-1929), church interior signed in pencil in the margin lower right, etching. 42 x 29 cm (PL). CONDITION REPORT: This etching has not been examined outside of the frame. There is some acid staining. This is light and only in certain areas where the mount has met the margin of the etching. The paper is raised in some places inline with moisture getting behind the glass. There are no visible tears or losses to the paper.
Roman Grand Tour - two portraits of Pope Pius VI, bust-length, in profile, in the Neoclassical within a Roman fresco: 1) Marco Carloni (1742-1796), Pio. Sexto. P.M./Bonarum. Atrium.Patrono, Rome: [...], 1787; 2) another, Alex Mochetti (1760-1812), Rome: 1790, each a copperplate etching and engraving, 62cm x 44.5cm, (2); Pietro Felix (fl. c. 1782-1807), after Domenico Pronti (1750 - ca. 1815), [The Statue of The River Nile and other Classical marbles in the collection of the Vatican Palace], [probably from 'Il Museo Pio-Clementino Descritto', n.p., Rome: probably Ludovico Mirri Mercante Di Quadri Incontro Il Palazzo Bernini, n.d. ?1782-1807], copper-plate engraving, 62cm x 44.5cm, (1), [3]
Edmund Blampied British, 1886-1966), two horses watering, with attendants, signed in the print and dated ‘1928’ and signed ‘E.Blampied’ and numbered ‘38/100’ in pencil in the margin, etching, 22.5cm 30.8cm (Pl), frame 44cm x 50.5cm Mount and frame very dirty.There is general surface yellowing, particularly noticeable in the marginsThe etching has almost certainly been laid down and there are signs of background discolouraton beginning to come throughThe mount is heavily water stained/foxed
PETER LAMBERT (BRITISH, 20TH/21ST CENTURY) (3)Blue and Yellow Nudessigned, dated, titled and numbered in pencil 'Peter Lambert 2003 5/32' (in lower margin)solar plate etchingeach image 20 x 12.5cmProvenanceFlagstaff Gallery, Victoria Road, DevonportPrivate collection, UKtogether with an etching by Kate Goslett, Untitled, Abstract in blue with figures, signed, dated and numbered in pencil '1985 30/30' (in lower margin), 32.5 x 33.5cm; and an etching by Michelle Morgan, 'Sunflowers', signed, dated, titled, numbered and inscribed in pencil '76 3/5' (in lower margin), arranged as four images, each image each 16 x 21cm(3)
NORMAN STEVENS (BRITISH, 1937-1988) (2)The Egyptian Garden, Biddulph Grangesigned, dated, titled and numbered in pencil 'Norman Stevens 1982 4/75' (in lower margin)etching in colours40 x 50cmARRtogether with a print by another hand, 'Tune Reflection', indistinctly signed, titled and numbered in pencil 'A.P 4/45' (in lower margin), 60 x 68cm(2)
ENGLISH SCHOOL (19TH CENTURY) (5)High level station, Crystal Palace titled (lower right) pencil heightened with white on paper 16 x 31.5cm Together with two further architectural drawings by the same hand (one unframed); Spring, a signed and numbered etching etching by Nasreen Begum; and an etching of a fountain by another hand (5)
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