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Los 59
Hedley Fitton (1859-1929) "Gateway, Hever Castle Kent" Original Proof Etching, Signed in pencil, 34cm x 21.5cm, Label to verso for Robert Dunthorne, Print Publisher, The Rembrandt Gallery 5 Vigo st London Condition reportThe picture is beneath glass.The subject looks in good condition.Age staining and foxing to the paper mount.
Los 756
(See English version below)David Hockney (Bradford 1937 – lebt in London und Los Angeles). „Godetia“. 1973Radierung und Aquatinta auf Velin. 43,5 × 29 cm (59 × 41,5 cm) ( 17 ⅛ × 11 ⅜ in. (23 ¼ × 16 ⅜ in.)). Signiert und datiert.Scottish Arts Council 155. Einer von 100 nummerierten Abzügen aus einer Gesamtauflage von 123. New York, Petersburg Press, 1973. [3297] Gerahmt. Provenienz: Privatsammlung, Berlin (1974 in der Galerie Otto Stangl, München, erworben)Wir berechnen auf den Hammerpreis 30% Aufgeld.David Hockney (Bradford 1937 – lives in London and Los Angeles). ”Godetia”. 1973Etching and aquatint on wove paper. 43,5 × 29 cm (59 × 41,5 cm) ( 17 ⅛ × 11 ⅜ in. (23 ¼ × 16 ⅜ in.)). Signed and dated.Scottish Arts Council 155. One of 100 numbered prints from a total edition of 123. New York, Petersburg Press, 1973. [3297] Framed. Provenance: Private Collection, Berlin (acquired in 1974 at Galerie Otto Stangl, Munich)We charge 30% premium on the hammerprice.
Los 758
(See English version below)David Hockney (Bradford 1937 – lebt in London und Los Angeles). Ohne Titel (Two young Men on a Sofa, für: „Illustrations for Fourteen Poems from C.P. Cavafy“). 1966Radierung und Aquatinta auf Velin. 35 × 22 cm (56,3 × 39,2 cm) ( 13 ¾ × 8 ⅝ in. (22 ⅛ × 15 ⅜ in.)). Signiert.Vgl. Scottish Arts Council 47-59. Künstlerabzug. [3297] Gerahmt. Provenienz: Privatsammlung, Berlin (1974 in der Galerie Otto Stangl, München, erworben)Wir berechnen auf den Hammerpreis 30% Aufgeld.David Hockney (Bradford 1937 – lives in London and Los Angeles). Untitled (Two young Men on a Sofa, for: ”Illustrations for Fourteen Poems from C.P. Cavafy”). 1966Etching and aquatint on wove paper. 35 × 22 cm (56,3 × 39,2 cm) ( 13 ¾ × 8 ⅝ in. (22 ⅛ × 15 ⅜ in.)). Signed.See Scottish Arts Council 47-59. Artist's proof. [3297] Framed. Provenance: Private Collection, Berlin (acquired in 1974 at Galerie Otto Stangl, Munich)We charge 30% premium on the hammerprice.
Los 759
(See English version below)David Hockney (Bradford 1937 – lebt in London und Los Angeles). „Corpses on Fire“ (aus: Six Fairy Tales). 1969Radierung und Aquatinta auf Velin. 25,8 × 24,5 cm (45 × 31,4 cm) ( 10 ⅛ × 9 ⅝ in. (17 ¾ × 12 ⅜ in.)). Signiert und bezeichnet.Scottish Arts Council 91. Einer von 100 nummerierten Abzügen aus einer Gesamtauflage von 120. Petersburg Press, New York, 1970. [3359] Gerahmt. Provenienz: Privatsammlung, BerlinWir berechnen auf den Hammerpreis 30% Aufgeld.David Hockney (Bradford 1937 – lives in London and Los Angeles). ”Corpses on Fire” (from: Six Fairy Tales). 1969Etching and aquatint on wove paper. 25,8 × 24,5 cm (45 × 31,4 cm) ( 10 ⅛ × 9 ⅝ in. (17 ¾ × 12 ⅜ in.)). Signed and inscribed.Scottish Arts Council 91. One of 100 numbered prints from a total edition of 120. Petersburg Press, New York, 1970. [3359] Framed. Provenance: Private Collection, BerlinWe charge 30% premium on the hammerprice.
Los 760
(See English version below)David Hockney (Bradford 1937 – lebt in London und Los Angeles). „The Student: Homage to Picasso“. 1973Radierung und Aquatinta auf Velin. 57 × 43,8 cm (75,2 × 56,5 cm) ( 22 ½ × 17 ¼ in. (29 ⅝ × 22 ¼ in.)). Signiert und datiert.Scottish Arts Council 153. Einer von 90 arabisch nummerierten Abzügen aus einer Gesamtauflage von 180. Berlin, Propylaen Verlag, 1974. [3297] Gerahmt. Provenienz: Privatsammlung, Berlin (1975 in der Galerie Otto Stangl, München, erworben)Wir berechnen auf den Hammerpreis 30% Aufgeld.David Hockney (Bradford 1937 – lives in London and Los Angeles). ”The Student: Homage to Picasso”. 1973Etching and aquatint on wove paper. 57 × 43,8 cm (75,2 × 56,5 cm) ( 22 ½ × 17 ¼ in. (29 ⅝ × 22 ¼ in.)). Signed and dated.Scottish Arts Council 153. One of 90 Arabic numbered prints from a total edition of 180. Berlin, Propylaen Verlag, 1974. [3297] Framed. Provenance: Private Collection, Berlin (acquired in 1975 at Galerie Otto Stangl, Munich)We charge 30% premium on the hammerprice.
Los 783
(See English version below)Thomas Schütte (Oldenburg 1954 – lebt in Düsseldorf). „Blues Men“. 20198 Hochdrucke mit Strichätzung auf Velin, in originaler Mappe. Jeweils 65 × 50 cm (91 × 69 cm) ( 25 ⅝ × 19 ⅝ in. (35 ⅞ × 27 ⅛ in.)). Jeweils signiert und datiert.Eines von 35 nummerierten Exemplaren aus einer Gesamtauflage von 41. Bregenz, Kunsthaus, 2019. [3496] Provenienz: Ehemals Kunsthaus BregenzWir berechnen auf den Hammerpreis 30% Aufgeld.Thomas Schütte (Oldenburg 1954 – lives in Düsseldorf). ”Blues Men”. 20198 letter press printings with stitch etching on wove paper, in original portfolio. Each 65 × 50 cm (91 × 69 cm) ( 25 ⅝ × 19 ⅝ in. (35 ⅞ × 27 ⅛ in.)). Each signed and dated.One of 35 numbered copies from a total edition of 41. Bregenz, Kunsthaus, 2019. [3496] Provenance: Formerly Kunsthaus BregenzWe charge 30% premium on the hammerprice.
Los 461
(See English version below)Joan Miró (Barcelona 1893 – 1983 Palma de Mallorca). Aus: „Lapidari“. 1981Pastell über Radierung auf Guarro-Velin. 35,5 × 49,5 cm ( 14 × 19 ½ in.). Dupin 1150. Mit einer rückseitigen Bestätigung von Rosa Maria Malet, Fundació Joan Miró, Barcelona, vom 19. Juli 2010. Einer von 145 Abzügen. Blatt 5 (von 24) der Folge: Lapidari. Barcelona, Galerie Maeght, 1981. [3482] Gerahmt.Addendum/Erratum: Werkverzeichnis: Vgl. Dupin 1150. Es handelt sich nicht um einen von 145 Abzügen, sondern um ein Unikat.Wir berechnen auf den Hammerpreis 25% Aufgeld und auf Hammerpreis und Aufgeld die zum Auktionszeitpunkt geltende Umsatzsteuer.Joan Miró (Barcelona 1893 – 1983 Palma de Mallorca). From: ”Lapidari”. 1981Pastel over etching on Guarro wove paper. 35,5 × 49,5 cm ( 14 × 19 ½ in.). Dupin 1150. With a confirmation by Rosa Maria Malet on the reverse, Fundació Joan Miró, Barcelona, dated 19 July 2010. One of 145 prints. Sheet 5 (of 24) from the set: Lapidari. Barcelona, Galerie Maeght, 1981. [3482] Framed.Addendum/Erratum: Catalogue raisonné: Cf. Dupin 1150. It is not one of 145 prints, but a unique workWe charge 25% premium on the Hammerprice and VAT applies to hammerprice and premium.
Los 488
(See English version below)Eduardo Chillida (1924 – San Sebastián – 2002). „Hommage á Luis Bergareche“. 1989Radierung und Aquatinta auf Arches-Velin. 136 × 123 cm (159 × 123 cm) ( 53 ½ × 48 ⅜ in. (62 ⅝ × 48 ⅜ in.)). Signiert.van der Koelen 89012. Einer von 50 nummerierten Abzügen. Zürich, Galerie Lelong, 1989. [3481] Gerahmt. Wir berechnen auf den Hammerpreis 30% Aufgeld.Eduardo Chillida (1924 – San Sebastián – 2002). ”Hommage á Luis Bergareche”. 1989Etching and aquatint on Arches wove paper. 136 × 123 cm (159 × 123 cm) ( 53 ½ × 48 ⅜ in. (62 ⅝ × 48 ⅜ in.)). Signed.van der Koelen 89012. One of 50 numbered prints. Zurich, Galerie Lelong, 1989. [3481] Framed. We charge 30% premium on the hammerprice.
Los 174
HERBERT DICKSEE R.E. (1862-1942) an original artist proof etching - 'Ready', A Wire Haired Fox Terrier, signed with initials and dated 1928 in the print, signed in pencil, various blind stamps, labels verso for Charles Nicholls & Son, Manchester, and with full title details, 36 x 56cms Provenance: private collection, consigned via our Colwyn Bay office Presentation & Condition: paper slightly browning in the margin adjacent to mount.
Los 108
DAVID ROBERTS R.A. (BRITISH 1796-1864) ST ANDREWS CATHEDRAL - THE EAST END WALL Oil on panel(41cm x 30.5cm (16in x 12in))Provenance: Probably the artist's sale; Christie's London, 16 May 1865. lot124 as 'Ruins of part of St Andrews Cathedral' to James Nasmyth His sale; Christie's London, 25 July 1894, lot77 as 'Elgin Cathedral' to Leggatt's Presumably with Leggatt's where possibly purchased by Gilbert Leigh Marks, London and thence by family descent Note: Although Roberts left Scotland for London in 1823, he would often return to visit and record sites of architectural interest, a number of which he later intended to reproduce in etching as 'The monastic antiquities of Scotland'. During an early visit to St Andrews in 1829, he painted around six works of different views, the majority of which relate, though not exclusively to the cathedral and its grounds. Roberts shows here that he absorbed from the very beginning of his career, a scholarly interest in antiquities that he retained all his life. The composition is imbued with a wonderfully moody atmosphere as the decaying maginificence of the towering ruins of the east gable are contrasted against the menacing prescence of a leaden sky. Interestingly, a watercolour of this same composition dated 1828 is recorded in a private collection. The work also corresponds to a thumbnail sketch from Robert's 'Record Books' numbered 50 under the year 1831 that was purchased by the Duke of Bedford at the Sopciety of British Artists in 1831, no. 137 (RB50) as 'Ruins of the Cathedral of St Rule, St Andrews' but this version is more probably one of two other oils of St Andrews Cathedral that were among the pictures in Robert's studio when he died and included in his posthumous studio sale at Christie's London in 1865 We are grateful to Krystyna Matyjaszkiewicz for confirming the authenticity from photograps and for her assistance in preparing this catalogue entry Literature: Robert's Record Book, vol. 1, folio 53r, no.50, Yale Center for British Art, New Haven, Conneticut
Los 4012
Amy Joanna Fry (Modern British & Cornish Artist, b. 1884), Christopher asleep, signed and titled in pencil by the artist, drypoint copperplate etching on paper, 19cm x 13cmAmy Joanna Fry studied at the Royal Academy from 1905 to 1910, and was a noted exhibitor at the London Salon and RA from 1908-1914. In 1937, she exhibited 'The Zionist' at the Newlyn Art Gallery, Cornwall. See Hardie (Melissa), Artists in Newlyn and West Cornwall, 1880-1940, Art Dictionaries Limited: 2009.
Los 4034
Local Interest - François Vivares (1709-1780), after Thomas Smith of Derby (d. 1767), two landscapes, A Prospect of Matlock-Bath &c. from the Lover's Walk, [&], A Prospect of that Beautiful Cascade below Matlock Bath, London: J. Boydell, August 25th 1743 and 1769, etching and engravings, Lover's Walk with contemporary hand-colouring, 38.5cm x 53cm, mounted, [2]
Los 4041
William Woollett (1735-1785), after John Donowell (fl. 1753-1786), A View of the Conduit (a), part of Carfax Church (b), the Piazza called the Butter Market (c), the Town Hall (d), the west Front of Christ Church College (e), &c in the University of Oxford, London: John Tinney, 1755, hand-coloured etching, 26cm x 41.5cm, lettering clipped and pasted to verso of frame, (1); another, similar, [Vatican], The Church of St. Peter at Rome, London: Robert Sayer, [n.d., mid-18th century], hand-coloured etching, 25cm x 41.5cm, lettering clipped and pasted to verso of frame, [2]
Los 4112
Sitwelliana - Gino Severini (Italian Futurist, 1883-1966), a bookplate design, Ex Libris Osbert et Sacheverell Sitwell, monogrammed by the artist within the platemark, copperplate etching, broad margins, 18.5cm x 25.6cm, [1]The bookplate was presumably commissioned by the Sitwell brothers from Severini to be affixed to the (?shared) library of books at their London home, 2, Carlyle Square, London S.W.3., before Sacheverell's marriage to Georgia (née Doble) in 1925. The Tuscan Severini was an obvious choice given his previous work for the brothers' father Sir George, Bart., at Castello Di Montegufoni, near Florence.
Los 412
Winifred Austen, (1876-1964) - Etching - 'Brent Geese', 24.5cm x 33.5cm, framed and glazed. Artist Resale Rights may applyCondition report: Information sticker to the reverse of frame, general condition consistent with age.The inclusion of the artist’s full name (and dates of birth and/or death, if known) should be understood to convey that, in our opinion only, this work is probably by the artist, and probably of the period. Any qualifiers such as ‘Attributed to’, ‘Circle, Manner, School, or Follower of’ etc. convey some level of doubt on our part.Due to ongoing Covid restrictions, bidders are able to view lots in this online-only sale on the specified viewing days, by prior appointment only. There is no viewing on the day of sale. Please therefore read the following:As this is a sale of second-hand and antique items, bidders should expect items to exhibit general wear and tear commensurate with age and use unless otherwise stated. Please carefully examine the images as they form part of the overall condition. Clevedon Salerooms are happy to provide further detailed information on request, if received by email or telephone at least 24 hours prior to the sale. The mention of a specific flaw or fault does not automatically mean that no other faults exist. Reports are provided as a goodwill gesture and are a general assessment, not a forensic survey.
Los 75
Vladimir Yankilevsky (Russian, 1938-2018)'Head I' from the album Anatomy of Feelings signed in Cyrillic, titled, dated '72' and inscribed 'EA' (lower edge)etching on paperplate: 29 x 25cm (11 7/16 x 9 13/16in); sheet: 49 x 60.2cm (19 5/16 x 23 5/8in).Footnotes:The present lot is offered with catalogue W. Schlott et al., Vladimir Jankilevskij. Radierungen: Anatomie der Gefühle. Stadt - Masken. Mutanten., Bremen, 1999.(2)ProvenanceAcquired by the present owner directly from the artist's studioIn 1970s, Vladimir Yankilevsky developed a strong interest in etchings. As a result, he produced the series Anatomy of Feelings, Mutants and City – Masks, with sensory experience as one of the main subjects. Previously taken by pure abstraction, in these works the artist develops an interest in anthropology. Many images of these sensual series possess expressive sexual connotations and confusing gender identities. This theme of absurd and surrealism was symptomatic of a breakdown of confidence of that period. Questioning of reality led to another exploration of figurative art. Dissident writer Andrei Sinavsky in his essay stated: 'a phantasmagorical art ... in which the grotesque will replace realistic description of ordinary life. May the fantastic imagery of Hoffmann and Dostoevsky, of Goya, Chagall and Mayakovski, ...and of many other realists and nonreality teach us how to be truthful with the aid of absurd and fantastic' (Abram Tertz (Andrei Siniavsky), On Social realism, New York, 1992, pp. 218-219).For further information on the album Anatomy of Feelings, including another impression of Head I, see W. Schlott et al., Vladimir Jankilevskij. Radierungen: Anatomie der Gefühle. Stadt - Masken. Mutanten, Bremen, 1999, p. 63.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Los 77
Mikhail Roginsky (Russian, 1931-2004)Two etchings: 'Tramway' and 'Mechanical flying horse' first: signed in Cyrillic and dated '76' in pencil (lower right), and also signed on plate (lower left); second inscribed and dated '76' (lower right)first: etching in back ink with bisque pigment on wove paper; second: etching and aquatint on wove paperfirst: plate size: 36.8 x 50.8cm (14 1/2 x 20 in); sheet size: 45 x 57cm (17 3/4 x 22 1/2in); second: plate size: 32 x 48.5cm (12 7/7 x 19 1/8in); sheet size: 46 x 57cm (18 1/8 x 22 1/2in).unframed(2)Footnotes:ProvenanceAcquired by an American collector in Russia, mid-1970s.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 241
London.- Havell & Son (Robert) London, taken near the New Custom House, River Thames panoramic view after T.S. Roberts, etching and aquatint with hand-colouring, sheet 440 x 690 mm (17 1/4 x 27 1/8 in), trimmed within the image, large repaired tear in upper section, further marginal repaired tears, some handling creases and surface dirt, most condition issues obscured under mount, unframed, T.S. Roberts, 1816.
Los 73
Gibraltar.- Pye (John), after Adam Pynacker. Europa Point, Gibraltar, dedicated to the Right Honourable Francis Greville, Earl Brooke of Warwick Castle, etching and engraving, slight marginal creasing, trimmed along platemark otherwise a good example, 435 x 580 mm (17 1/4 x 22 3/4 in), John Boydell, 1773.
Los 86
Middle East.- Menpes (Mortimer Luddington) Market scene, etching with drypoint, signed in pencil by the artist, on laid paper without watermark, platemark 175 x 140 mm (6 3/4 x 5 1/4 in), wide margins, some toning and surface dirt, minor handling creases, unframed, 1914; together with Charles W. Cain's etching 'Market Place in Baghdad', and an anonymous etching and drypoint of the pyramids, both unframed, 20th century (3)
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78475 Los(e)/Seite