* IAN FLEMING RSA RSW RGI (SCOTTISH 1906 - 1994), UNTITLED etching on paper, studio stamp verso, no. 161mounted, framed and under glass image size 37cm x 50cm, overall size 52cm x 62cm Provenance: the artist's studio sale.Note: Ian Fleming was born in Glasgow and studied drawing, painting and printmaking at Glasgow School of Art. After graduating, he worked with etcher Charles Murray, and then travelled on an art school scholarship to London, Paris and Spain. In 1931 Fleming started teaching at Glasgow School of Art. During this time he met William Wilson, with whom he exchanged print-making ideas. He served in the police and army during the second world war and continued sketching and printmaking throughout. Notable are the prints he made of the Glasgow blitz. After the war Fleming taught again at Glasgow School of Art and at Hospitalfield, Arbroath. At this time he moved towards painting, rather than print-making, producing landscapes, harbours and portraits both in oil and watercolour. Fleming was principal of Gray's School of Art between 1954 and 1971. He continued in printmaking after his retirement. He died at Aberdeen.
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* IAN FLEMING RSA RSW RGI (SCOTTISH 1906 - 1994), UNTITLED etching on paper, studio stamp verso, no. 171mounted, framed and under glass image size 37cm x 50cm, overall size 61cm x 77cm Provenance: the artist's studio sale.Note: Ian Fleming was born in Glasgow and studied drawing, painting and printmaking at Glasgow School of Art. After graduating, he worked with etcher Charles Murray, and then travelled on an art school scholarship to London, Paris and Spain. In 1931 Fleming started teaching at Glasgow School of Art. During this time he met William Wilson, with whom he exchanged print-making ideas. He served in the police and army during the second world war and continued sketching and printmaking throughout. Notable are the prints he made of the Glasgow blitz. After the war Fleming taught again at Glasgow School of Art and at Hospitalfield, Arbroath. At this time he moved towards painting, rather than print-making, producing landscapes, harbours and portraits both in oil and watercolour. Fleming was principal of Gray's School of Art between 1954 and 1971. He continued in printmaking after his retirement. He died at Aberdeen.
GIOVANNI BATTISTA PIRANESI (ITALIAN 1720-1778) THE TOMB OF PLAUTII, NEAR THE PONTE LUCANOetching on heavy ivory laid paper62 x 46.5cm; 24 1/2 x 18 1/4in86.5 x 71cm; 34 x 28in (framed)Property from a Private Collector, West LondonProvenanceAcquired by the uncle of the present owner circa 1970LiteraturePiranesi, Vedute Di Roma Disegnate Ed Incise Da Giambattista Piranesi, circa. 1747-1766, pl. 83, illustrated Henri Focillon, Giovanni-Battista Piranesi: Essai de catalogue raisonné de son oeuvre, Paris, 1964, no. 783John Wilton-Ely, Giambattista Piranesi, The Complete Etchings, Alan Wofsy Fine Arts, vol. I, 1994, no. 1014, illustrated Executed circa 1760-69 and published 1800-07, the present work depicts the tomb of Lucanus Plautius from circa 10-14 AD, after whom the adjacent bridge over the river Aniene was named. The view is one of a series of etchings that Piranesi featured in his seminal Vedute di Roma (Views of Rome) that occupied the last thirty years of his life. Piranesi’s popular Vedute, which eclipsed earlier views of Roman landmarks through their dynamic compositions, bold lighting effects, and dramatic presentation, shaped European conceptions of the city. One of the greatest printmakers of the eighteenth century, Piranesi always considered himself an architect. The son of a stonemason and master builder, he received practical training in structural and hydraulic engineering from a maternal uncle who was employed by the Venetian waterworks, and a thorough schooling in perspective and stage design, while his brother, a Carthusian monk, fired the aspiring architect with enthusiasm for the history and achievements of the ancient Romans. Although Piranesi had limited success in attracting architectural commissions, this diverse training was instrumental in establishing his reputation as a graphic artist.
WAYNE THIEBAUD (AMERICAN 1920-2021) DOWNGRADEsigned and dated ♡ Thiebaud 1979 lower right; numbered 32/50 lower leftetching, aquatint and drypoint on Somerset paper50.5 x 32.5cm; 19 3/4 x 12 3/4in82.5 x 62cm; 32 1/2 x 24 1/2in (framed)Property from a Private Collector, KensingtonPart of his seminal eight-part series Recent Etchings I, Wayne Thiebaud's striking re-interpretations of the traditional genre of landscape painting takes its inspiration from the unique topography of San Francisco. The city's plunging hills, strict formality of the buildings, sidewalks, and even road markings are visible in the artist's exacting delineation of objects and space. Thiebaud's approach upends conventional perspective, creating swells and inclines on the cusp between abstraction and representation. His resourceful use of light and shadow on the vertical street, rendered with a painterly realism and gravity-defying manipulation of space, demonstrates his determination to usurp conventional observation as he creates a viewing experience that plays with both the audience's sense of position and frame of reference.
FRENCH SCHOOL (17TH CENTURY) THE FINDING OF MOSES oil on canvas 95.6 x 138cm; 38 x 54 1/2in 126 x 157cm; 49 1/2 x 61 3/4in (framed) Property of a Gentleman, London Provenance Frederick Willis Farrer, London (d.1909; Farrer worked for the family legal firm, Farrer & Co. in Lincoln's Inn Fields, and was the son-in-law of the painter George Richmond) Sale, Christie's London, 23 June 1916, lot 108 Sale, Phillips London, 28 April 1987, lot 65 (as Circle of Gaspard Poussin, called Gaspard Dughet). Purchased at the above sale by the present owner Exhibited Ottawa, National Gallery of Canada, Egyptomania: Egypt in Western Art, 1730-1930, 1994, p. 33, fig. 2 (as by Charles-Alphonse Dufresnoy; illustrated in the catalogue) The present work has been the subject of much scholarly debate. When first recorded at auction in 1916 it was considered to be by Claude Lorrain (1600-1682), when offered for sale in 1987 it was attributed to Circle of Gaspard Poussin, called Gaspard Dughet (1615-1675). Since 1987 a range of attributions have been proffered, mostly to French hands of the seventeenth century. In 1994, when it was a feature of the Egyptomania exhibition in Ottawa it was catalogued as by Charles-Alphonse Dufresnoy (1611-1668), an attribution put forward by Pierre Rosenberg; another suggestion is that it could be by Francisque Millet III (1697-1777). More recently the name of Dutch painter Johannes Glauber (1656-c.1703) has been proposed. Iconographically the figures in the composition bear striking similarities to the work of Francisque Millet I (1642-79). The woman kneeling with arms outstretched to the left of the baby Moses compares with the corresponding figure in the etching by Theodore after the painting by Millet I (Alte Nationalgalerie, Berlin). The female figure standing behind Moses who gestures towards the child also adopts the pose of the woman standing almost in the river in Theodore's etching. Concerning references to the Antique, the obelisk on the left of the composition derives from the the obelisk in front of the church of St John Lateran, Rome - one of the nineteen obelisks brought back from Egypt by Emperor Hadrian. Its ornamentation shows the cartouches of King Tuthmosis III of the Eighteenth Dynasty. The inscriptions in the roundel are taken, in part at least, from the obelisk in the Piazza del Popolo, Rome. The two statues are the Antinous now in the Museo Gregorio in the Vatican. The pyramid shown on the right is the tomb of Caius Cestius, which stands in what is now the English cemetery in Rome. The brass trumpet-like object on the ground is the rattle of Osiris, the Egyptian mother-god. The winged creatures in the sky appear to reference the flying serpents sent by God on the grumbling Israelites and the ibis Moses used to put down the birds.
JOAN MIRO (SPANISH 1893-1983) ⊕ LE SCIEUR DE LONGsigned Miró lower right; numbered 14/75 lower leftetching, aquatint and carborundum in colours on Mandeure rag paper76.4 x 57.2cm; 30 1/4 x 22 1/2in 103 x 82.5cm; 40 1/2 x 32 1/2in (framed)Property of a Lady, BelgraviaLiteratureJacques Dupin, Miro Engraver II: Catalogue Raisonné of Engravings (1961-1973), Paris, 1989, no. 458Executed in 1968 and published by Maeght éditeur, Paris. Miró began his carborundum prints in the late 1960s, which Murray Macaulay describes as ‘the culmination and final development of his graphic work’. They involved a type of engraving, in which an abrasive ground known as carborundum (silicon carbide) was mixed with a binding agent and applied to a printing plate. The final prints - such as the present example - have a velvety, granulated surface, and are not only monumental in sheer scale, but also by their brilliance and depth of field achieved through their textured appearance.Joan Miró has been described as a 'painter-poet', his works adopting a unique visual vocabulary of inverted metaphors, undiluted primary colours, and rhythmic linearity. Earning international acclaim, Miró is notable for his interest in the potential of the subconscious mind, reflected in the jovial, biomorphic lines and forms that populate his compositions. Although often pigeonholed as a Surrealist, Miró considered his art to be free of any 'ism'. He experimented feverishly throughout his career with different media - painting, pastel, printmaking, sculpture, ceramics, collage, muralism, and tapestry - and unconventional materials as a way of making work that expressed the moment.
France.- Napoleon.- Gillray (James) The Grand Coronation Procession of Napoleone the 1st, Emperor of France, etching, uncoloured impression on wove paper, sheet 253 x 790 mm (10 x 31 1/8 in), under glass, hinged onto mount, spotting and surface dirt, trimmed to or just within the platemark, framed, [BM Satires 10362], 1804
Rossetti (Dante).- Haydon (Samuel James Bouverie, 1815-1891) Portrait of Dante Gabriel Rossetti, etching on wove paper, platemark 132 x 150 mm (5 1/4 x 5 7/8 in), sheet 165 x 195 mm (6 1/2 x 7 3/4 in), laid onto card, mount affixed on top, even toning, with manuscript letter affixed to original backboard from Haydon's son, Flaxman Haydon, gifting the etching from his father's personal collection, unframed with backboard, 1882Provenance:Samuel James Bouverie Haydon (1815-1891)Flaxman Haydon; gifted to Mr Francis, 1891Anonymous sale.*** The Morgan Library hold a collection of manuscript letters written by Dante Gabriel Rossetti, including letters written to Haydon, outlining the close friendship between the two men and their apparent exchange of gifts.
One of 75 Numbered Copies Heaney (Seamus) The Testament of Cresseid, a Retelling of Robert Henryson's Poem, sm. folio L. (Enitharmon Editions) 2004, Signed Limited Edn. No. 14/75, with illustration by Hughie O'Donoghue [with original signed Etching] green cloth, ptd. labels, with matching slipcase. (1)
![Deuchar (David) A Collection of Etching after the most Eminent Masters of the Dutch and Flemish Schools,... [includ.]&nb](https://cdn.globalauctionplatform.com/549da13f-ed0e-4f30-b9f1-b22d00cc78d4/c1c22042-456e-458d-9dcb-b23000ffe980/468x382.jpg)
Deuchar (David) A Collection of Etching after the most Eminent Masters of the Dutch and Flemish Schools,... [includ.] A Few Original Designs, Sm. folio Edinburgh 1803. Engd. title, engd. frontis & 82 engd. illus. various sizes, some fold. on 79 plts., all mounted on new sheets, in a later blind and gilt tooled volume, recent professional reback, gilt spine. V. good copy. As a coll. of plts. (1)
Rembrandt Harmensz van Rijn (Dutch, 1606-1669)The Pancake Woman (Bartsch 124; New Hollstein 144) Etching, 1635, on laid paper, a good impression of New Hollstein's second state of seven, trimmed to or just outside the platemark, framedPlate 109 x 77mm (4 1/4 x 3in)Footnotes:ProvenanceDésiré Bouillard, France, 19th Century (Lugt 731).The collector's stamp of initials 'DB' and a triangle, has not been fully attributed. The mark was first listed in 1883 by Louis Fagan in Collectors' Marks, who referenced it as 'D. Bouillard. Engraver' (n.135). In 2016 Pierre Juhel published Les ventes publiques d'estampes à Paris sous la Troisième République, proposing the name of Jean François Désiré Bouillard (1824-1900)(n.119).This mark has appeared on other prints including Pan and Apollo, possibly by Jan de Bisschop, in the Library of Congress in Washington.For further information on this lot please visit Bonhams.com
Pablo Picasso (Spanish, 1881-1973)La Toilette de la Mère, from La Suite des Saltimbanques (Bloch 13; Baer 15) Etching and drypoint, 1905, on Van Gelder Zonen wove paper, from the unsigned and unnumbered edition of 250, published by A. Vollard, Paris, 1913, with wide margins, framedPlate 235 x 177mm (9 1/4 x 7in)Sheet 475 x 330mm (18 3/4 x 13in)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
Francisco José de Goya y Lucientes (Spanish, 1746-1828)Subir y bajar, Plate 53 from Los Caprichos Etching with aquatint, 1799, on laid paper, a very good impression, from the First edition, printed by the artist, Madrid, the full sheet, framedPlate 213 x 150mm (8 3/8 x 5 7/8in)Sheet 320 × 224mm (12 1/2 × 8 7/8in)For further information on this lot please visit Bonhams.com
William Kentridge (South African, born 1955)Dutch Iris II Etching and aquatint in colours, 1993-98, on Arches wove paper, signed and numbered 4/30 in pencil, printed by Jack Shirreff at the 107 Workshop, Wiltshire, published by David Krut, Johannesburg, the full sheet, framedPlate 1080 x 593mm (42 1/2 x 23 3/8in)Sheet 1210 x 795mm (47 5/8 x 31 3/8in)Footnotes:ProvenanceRose Korber Gallery, Cape Town.Acquired from the above by 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
William Kentridge (South African, born 1955)White Iris Etching and aquatint in colours, 1998, on Rives wove paper, signed and numbered 15/30 in pencil, published by David Krut Fine Art, London, the full sheet, framedImage 1079 x 595mm (42 1/2 x 23 1/4in)Sheet 1203 x 793mm (47 3/8 x 31 1/4in)Footnotes:ProvenanceRose Korber Gallery, Cape Town.Acquired from the above by 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
David Hockney (British, born 1937)My Bonnie Lies Over the Ocean (Scottish Arts Council 13; M.C.A. Tokyo 29) Etching and aquatint in colours with collage, 1961, on wove paper, signed in red crayon (faded), from the unnumbered edition of approximately 50, printed by Ron Fuller and Peter Mathews at the Royal College of Arts, London, published by the artist, London, with margins, framedPlate 450 x 450mm (17 3/4 x 17 3/4in)Sheet 525 x474mm (20 5/8 x 18 5/8in)Footnotes:Made on the occasion of Hockney's first visit to New York. This edition was proofed by the artist at the Pratt Graphic Workshop, New York. The collage is of the head of George Washington from a United States postage stamp.ProvenanceLeslie and Johanna Garfield Collection, New York.The Leslie & Johanna Garfield Collection: A Celebration of David Hockney, Sotheby's, New York, 15th November 2023, Lot 5.Private collection, U.K.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
Pablo Picasso (Spanish, 1881-1973)Modèle et sculpteur avec sa sculpture, from Vollard Suite (Baer 300) Etching, 1933, on Montval laid paper with Voillard watermark, signed in pencil, from the unnumbered edition of 260 (there were also 50 with wider margins), printed by Lacourière, published by Vollard, Paris, the full sheet, framedPlate 267 x 194 mm (10 1/2 x 7 5/8 in)Sheet 445 x 340mm (17 1/2 x 13 3/8 in)Footnotes:ProvenancePurchased from Lumley Cazalet Ltd., London.Thence by descent 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
Lucian Freud (British, 1922-2011)David Dawson (Hartley 56; Figura 78) Etching, 1998, on Somerset wove paper, signed with the initials and numbered 13/46 in pencil, printed by Marc Balakjian at Studio Prints, London, published by Matthew Marks Gallery, New York, the full sheet, framedImage 597 x 429mm (23 1/2 x 16 7/8in)Sheet 757 x 577mm (29 7/8 x 22 5/8in)Footnotes:ProvenanceRex Irwin Gallery, Sydney.Morgan Collection, Australia.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
Lucian Freud (British, 1922-2011)Head of Ib (Hartley 35; Figura 54) Etching, 1988, on Somerset wove paper, signed with the initials and numbered 36/40 in pencil (there were also ten numbered artist's proofs), printed by Marc Balakjian at Studio Prints, London, published by James Kirkman, London, and Brooke Alexander, New York, the full sheet, framedPlate 215 x 153mm (8 5/8 x 6 1/8in)Sheet 362 x 280mm (14 1/8 x 11in)Footnotes:ProvenanceCaroline Wiseman, London.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
Rembrandt van Rijn (Dutch, 1606-1669)The Death of the Virgin (Bartsch 99; New Hollstein 173) Etching and drypoint, 1639, on thin laid paper, with watermark Bunch of Grapes and countermark Words, New Hollstein's fourth state (of five), trimmed to or just outside the platemarkPlate 409 x 315mm (16 1/8 x 12 3/8in)For further information on this lot please visit Bonhams.com
David Hockney R.A. (British, born 1937) and Allen Jones R.A. (British, born 1937)'An Erotic Etching' and 'Navajo Jacket', from the publication The Erotic Arts by Peter Webb (Scottish Arts Council 172; Lloyd 68) One etching and one screenprint in colours, 1975 and 1974, on wove papers, each signed and numbered 29/100 in pencil, Navajo Jacket additionally dated in pencil, published by Secker and Warburg, London, An Erotic Etching with the artist's copyright stamp, the full sheets; each affixed to the book The Erotic Arts by Peter Webb (as issued), with a hand-written dedication and the author's signature, numbered 29 in black ink on the justification page, from the deluxe edition of 100 (there were also 26 copies lettered A to Z reserved for collaborators), housed within the original green leather-bound slip-caseEach sheet 217 x 153mm (8 1/2 x 6in)(and similar)(2)Overall 263 x 195 x 50mm (10 3/8 x 7 5/8 x 2in)Footnotes:ProvenancePrivate collection, U.K.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
Damien Hirst (British, born 1965)Ellipticine Etching in colours, 2007, on wove paper, signed in pencil, numbered 12/75 in pencil verso, printed by Thumbprint Editions, published by The Paragon Press, London, the full sheet, framedPlate 843 x 1142mm (33 1/4 x 45in)Sheet 1103 x 1374mm (43 3/8 x 54 1/8in)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
Ian Davenport (British, born 1988)Autumn, from The Four Seasons Etching in colours, 2019, chine collé on Hahnemühle Bright White wove paper, signed, dated and numbered 1/30 in pencil, printed by Thumbprint Editions Ltd., published by Cristea Roberts Gallery, London, the full sheet, framedPlate 964 x 964mm (38 x 38in)Sheet 1150 x 1130mm (45 1/4 x 44 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
Léonard Tsuguharu Foujita (Japanese/French, 1886-1968)Portrait de Femme (Buisson 27.47) Etching in colours, circa 1927, on wove paper, signed and numbered 92/100 in pencil, with wide margins, framedPlate 320 x 240mm (12 5/8 x 9 1/2in)Sheet 407 x 322mm (16 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
A large collection of watercolours, an oil painting and prints, to include: watercolour and acrylic paintings by: Parker Hagarty, Jane A. Cooper, Sheppard, Barabara Ashton and Ruth Fisher; an oil painting signed M. Sheppard; A c.19th century engraving of The Hamilton vase and one other unsigned etching; together with a print after Salvador Dali (22)
â–² John Buckland Wright (1897-1954) 'Bathers'woodcut, signed and dated 'John Buckland Wright 1946' in pencil l.r.13.5 x 19.5cm, framed, and Charles W Cain (1893-1962) 'Indian Silversmith'etching, signed and dated 1875, 23 x 28cm, framed (2)Condition ReportBoth mounted , glazed and framed. Fair but glass dirty.
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