78475 Preisdatenbank Los(e) gefunden, die Ihrer Suche entsprechen

Sir George Clausen (British, 1852-1944), Old Joe, signed in pencil 'George Clausen' (in lower margin), etching, 12 x 8cm

Valerie Thornton (British, 1931-1991), Cley-next-the-Sea; Leiston, one signed, dated, titled and numbered in pencil 'Valerie Thornton '73, 25/50' (in lower margin), etching, 39 x 61cm; the other signed, dated, titled and numbered 'Valerie Thornton '73, 45/50' (in lower margin), etching, 40 x 62cm (2)ARR Condition Report A few small brown marks to margins. Otherwise both appear generally good.

Hew Locke (British, b. 1959), Puppetmaster, signed and numbered in pencil 'Hew Locke 25/50' (in lower margin), etching, 34 x 30cm (unframed)ARR Condition Report The sheet is sound and clean with deckled edges to all four sides. Good condition overall.

Stanley William Hayter (British, 1901-1988), L'Oeil, 1971, signed, dated, titled and numbered in pencil 'Stanley Hayter 71 12/50' (in lower margin), engraving and soft ground etching with scorper, 39.5 x 39.5cmARR Condition Report Appears in generally good condition.

Cyril Power (British, 1872-1951), The Lock, signed, titled and numbered in pencil, 'Cyril Power No 8' (in lower margin), etching, 20 x 27.5cmARR Condition Report Not glazed. Appears in generally good condition.

European School, 20th Century, Knights riding to a castle on a mountain, indistinctly signed in pencil (in lower margin), etching, 27 x 23cm, together with three other unframed etchings by the same hand (4)

Francis Kelly (American, 1927-2012), Nightfall, signed titled and numbered in pencil '3/20', 'Francis Kelly' (in lower margin), etching, 54 x 49cm, to be sold with three further works, an etching by Catterine Grist, Mariana in the Moated Grange, 49 x 30cm, a watercolour of a town scene, signed 'Spitzel', 59 x 46.5cm, and a reproduction print of a Mediterranean port, 36.5 x 45.5cm (4).

A Good, Large Late 19th Century Japanese Ivory Fan, Ogi, the gorge plain but the guards with unusual shibayama inlays, and gold lacquer work, being a pair of cranes and several insects, a ladybird, a spider, a flowering tree, and butterflies. Floral/foliage etching to the white metal loop, ivory ojime, double cream silk tassel. The recto is painted with a winter scene with light snow, a landscape with meandering river, stylised trees and many birds on the water or in flight. The leaf is edged top and bottom in gold. In contrast the verso speaks of summer, with a yellow background painted with delicate flowers in light blue and pink, and touches of yellow, salmon and red amongst leaves. The shibayama is similar to the recto but includes a dragonfly, black and a red beetle. Guard length approx. 15.75 inches or 40cm.. Slight wear noted to the bottom right of the leaf on the verso. Missing top shibayama inlay on the recto.

Mark Peppé Detail of Cézanne Self Portrait 1879-82 (26x20 inches) Kunstmuseum, Bern Oil on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Mark Peppé was born in 1934, he studied at the Slade 1957-60, taught painting and etching by William Coldstream, Keith Vaughan and Anthony Gross. ;1960-62 employed by Cosmopolitan Artists in The King's Road, Chelsea. First as a visualiser for photo stories, then drawing pencils for strip cartoons, helped by Rip Kirby books. The pencils were then inked in by my boss Enzo Plazzotta, later a successful sculptor of ballet subjects. 1962-99 freelance illustrator and painter  

Mark Peppé Golden Sections-Primaries, 2020 Oil on Paper Signed verso 10 x 15cm (3¾ x 5¾ in.) Mark Peppé was born in 1934, he studied at the Slade 1957-60, taught painting and etching by William Coldstream, Keith Vaughan and Anthony Gross. ;1960-62 employed by Cosmopolitan Artists in The King's Road, Chelsea. First as a visualiser for photo stories, then drawing pencils for strip cartoons, helped by Rip Kirby books. The pencils were then inked in by my boss Enzo Plazzotta, later a successful sculptor of ballet subjects. 1962-99 freelance illustrator and painter

Mark Peppé The artist's granddaughters, Willingdon, 2008, 2020 Oil on Paper Signed verso 10 x 15cm (3¾ x 5¾ in.) Mark Peppé was born in 1934, he studied at the Slade 1957-60, taught painting and etching by William Coldstream, Keith Vaughan and Anthony Gross. ;1960-62 employed by Cosmopolitan Artists in The King's Road, Chelsea. First as a visualiser for photo stories, then drawing pencils for strip cartoons, helped by Rip Kirby books. The pencils were then inked in by my boss Enzo Plazzotta, later a successful sculptor of ballet subjects. 1962-99 freelance illustrator and painter

Mark Peppé Man U v Feyenoord 1997, 2020 Oil on Paper Signed verso 10 x 15cm (3¾ x 5¾ in.) Mark Peppé was born in 1934, he studied at the Slade 1957-60, taught painting and etching by William Coldstream, Keith Vaughan and Anthony Gross. ;1960-62 employed by Cosmopolitan Artists in The King's Road, Chelsea. First as a visualiser for photo stories, then drawing pencils for strip cartoons, helped by Rip Kirby books. The pencils were then inked in by my boss Enzo Plazzotta, later a successful sculptor of ballet subjects. 1962-99 freelance illustrator and painter  

Richard Bawden Jessie at Home, 2020 Pen and Watercolour on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Richard Bawden RWS NEAC RE is a painter, printmaker and designer working predominantly in lino, etching and watercolour. His work has a graphic, linear quality and a strong sense of craftsmanship, which translates naturally into many forms. These have included book illustration, murals for restaurants, etched glass church windows and doors, a poster for London Transport, mosaics and furniture. Born in 1936, the son of the well-known artist, Edward Bawden, R.A. Richard studied painting, printmaking and graphic design at Chelsea, St Martin's and the Royal College of Art. His paintings are drawn from life and often depict scenes of domesticity: his house, sofas, chairs, windows, cats, his garden and its birds. He is attracted by atmosphere, oddity, pattern and the austere. Focussing on these, he draws the viewer into his delightful universe. Based in Suffolk, Richard has had over fifty one man exhibitions at home and abroad; including a major retrospective at Gainsborough's House in Suffolk. He has work in Royal, public and private collections, and has taught drawing and printmaking at several London and provincial art schools. Richard is a Council member of the Royal Watercolour Society (RWS), an elected member of the Royal Society of Painter-Printmakers (RE), a member of the New English Art Club (NEAC), and a former Chairman of the Gainsborough House Print Workshop in Sudbury.  

Richard Bawden Sea Shell, 2020 Watercolour on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Richard Bawden RWS NEAC RE is a painter, printmaker and designer working predominantly in lino, etching and watercolour. His work has a graphic, linear quality and a strong sense of craftsmanship, which translates naturally into many forms. These have included book illustration, murals for restaurants, etched glass church windows and doors, a poster for London Transport, mosaics and furniture. Born in 1936, the son of the well-known artist, Edward Bawden, R.A. Richard studied painting, printmaking and graphic design at Chelsea, St Martin's and the Royal College of Art. His paintings are drawn from life and often depict scenes of domesticity: his house, sofas, chairs, windows, cats, his garden and its birds. He is attracted by atmosphere, oddity, pattern and the austere. Focussing on these, he draws the viewer into his delightful universe. Based in Suffolk, Richard has had over fifty one man exhibitions at home and abroad; including a major retrospective at Gainsborough's House in Suffolk. He has work in Royal, public and private collections, and has taught drawing and printmaking at several London and provincial art schools. Richard is a Council member of the Royal Watercolour Society (RWS), an elected member of the Royal Society of Painter-Printmakers (RE), a member of the New English Art Club (NEAC), and a former Chairman of the Gainsborough House Print Workshop in Sudbury.  

Richard Bawden Duke of York for Ever, 2020 Watercolour on paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Richard Bawden RWS NEAC RE is a painter, printmaker and designer working predominantly in lino, etching and watercolour. His work has a graphic, linear quality and a strong sense of craftsmanship, which translates naturally into many forms. These have included book illustration, murals for restaurants, etched glass church windows and doors, a poster for London Transport, mosaics and furniture. Born in 1936, the son of the well-known artist, Edward Bawden, R.A. Richard studied painting, printmaking and graphic design at Chelsea, St Martin's and the Royal College of Art. His paintings are drawn from life and often depict scenes of domesticity: his house, sofas, chairs, windows, cats, his garden and its birds. He is attracted by atmosphere, oddity, pattern and the austere. Focussing on these, he draws the viewer into his delightful universe. Based in Suffolk, Richard has had over fifty one man exhibitions at home and abroad; including a major retrospective at Gainsborough's House in Suffolk. He has work in Royal, public and private collections, and has taught drawing and printmaking at several London and provincial art schools. Richard is a Council member of the Royal Watercolour Society (RWS), an elected member of the Royal Society of Painter-Printmakers (RE), a member of the New English Art Club (NEAC), and a former Chairman of the Gainsborough House Print Workshop in Sudbury.  

Richard Bawden Cat Seat and Fountain, 2020 Watercolour on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Richard Bawden RWS NEAC RE is a painter, printmaker and designer working predominantly in lino, etching and watercolour. His work has a graphic, linear quality and a strong sense of craftsmanship, which translates naturally into many forms. These have included book illustration, murals for restaurants, etched glass church windows and doors, a poster for London Transport, mosaics and furniture. Born in 1936, the son of the well-known artist, Edward Bawden, R.A. Richard studied painting, printmaking and graphic design at Chelsea, St Martin's and the Royal College of Art. His paintings are drawn from life and often depict scenes of domesticity: his house, sofas, chairs, windows, cats, his garden and its birds. He is attracted by atmosphere, oddity, pattern and the austere. Focussing on these, he draws the viewer into his delightful universe. Based in Suffolk, Richard has had over fifty one man exhibitions at home and abroad; including a major retrospective at Gainsborough's House in Suffolk. He has work in Royal, public and private collections, and has taught drawing and printmaking at several London and provincial art schools. Richard is a Council member of the Royal Watercolour Society (RWS), an elected member of the Royal Society of Painter-Printmakers (RE), a member of the New English Art Club (NEAC), and a former Chairman of the Gainsborough House Print Workshop in Sudbury.  

Rosie Emerson Dreamer, 2020 Photopolymer Etching on Paper Signed recto 15 x 10cm (5¾ x 3¾ in.) Rosie Emerson is an award winning contemporary artist originally from Dorset, she studied and lived in London for 10 years. She now resides on the South Coast and continues to work almost exclusively on representing the female form. Emerson's figures draw reference from archetypes old and new from Artemis to the modern day super model.   Inspired by her love of museums, architecture, theatre, silhouettes, shrines and rituals, she uses dramatic lighting, hand made costumes, set and prop making alongside printmaking and painting to create her unique style of work. Her work is widely collected and exhibited both in the UK, as well as internationally, through galleries, art fairs and museums. Emerson was also commissioned by Hackney WickED Arts Festival to create a new Guinness World record and create the world's largest Cyanotype photograph.   Emerson has been commissioned by brands including Sony, Triumph Underwear, Redbull, P&O Cruises, Toms, and Annoushka jewelry working with models Amber le Bon, Daisy Lowe and singer Eliza Doolittle. Her work has also been featured in Vogue, Harper's Bazaar, Another Magazine, The Financial Times Magazine and The Sunday Times Style Magazine.     Emerson has been commissioned by brands including Sony, Triumph Underwear, Redbull, P&O Cruises, Toms, and Annoushka jewelry working with models Amber le Bon, Daisy Lowe and singer Eliza Doolittle. Her work has also been featured in Vogue, Harper's Bazaar, Another Magazine, The Financial Times Magazine and The Sunday Times Style Magazine. Condition Report:         Condition Report Disclaimer

Rosie Emerson Ebony Rose AP, 2020 Photopolymer Etching on Paper Signed recto 15 x 10cm (5¾ x 3¾ in.)Rosie Emerson is an award winning contemporary artist originally from Dorset, she studied and lived in London for 10 years. She now resides on the South Coast and continues to work almost exclusively on representing the female form. Emerson's figures draw reference from archetypes old and new from Artemis to the modern day super model.   Inspired by her love of museums, architecture, theatre, silhouettes, shrines and rituals, she uses dramatic lighting, hand made costumes, set and prop making alongside printmaking and painting to create her unique style of work. Her work is widely collected and exhibited both in the UK, as well as internationally, through galleries, art fairs and museums. Emerson was also commissioned by Hackney WickED Arts Festival to create a new Guinness World record and create the world's largest Cyanotype photograph.   Emerson has been commissioned by brands including Sony, Triumph Underwear, Redbull, P&O Cruises, Toms, and Annoushka jewelry working with models Amber le Bon, Daisy Lowe and singer Eliza Doolittle. Her work has also been featured in Vogue, Harper's Bazaar, Another Magazine, The Financial Times Magazine and The Sunday Times Style Magazine.     Emerson has been commissioned by brands including Sony, Triumph Underwear, Redbull, P&O Cruises, Toms, and Annoushka jewelry working with models Amber le Bon, Daisy Lowe and singer Eliza Doolittle. Her work has also been featured in Vogue, Harper's Bazaar, Another Magazine, The Financial Times Magazine and The Sunday Times Style Magazine.

KESSEL, JAN VAN KESSEL, JAN VAN Antwerpen 1626 - 1679 Titel: Vier Gemälde: Städtedarstellungen aus dem Zyklus "Die Vier Erddeile". Datierung: 1670-1679. a) Jagdhunde und Schweine am Rhein von Köln. Öl auf Kupfer. 15,5 x 21,5cm. Rahmen. Rückseitig alt bezeichnet: Coelln am Rhein. b) Fische, Tintenfische und Schalentiere vor Lissabon. Öl auf Kupfer. 16,5 x 22cm. Rahmen. c) Krokodile vor der Silhouette einer Stadt (Havanna?). Öl auf Kupfer. 17,5 x 24cm. Nummeriert unten links: 160. Rahmen. Rückseitig alt bezeichnet: America. d) Affen und Pinguine vor einer Bucht in Südamerika. Öl auf Kupfer. 17,5 x 24cm. Rahmen. Provenienz: Privatbesitz, Deutschland. Wir danken Fred Meijer, Amsterdam, für seine Unterstützung bei der Katalogisierung der vorliegenden Gemälde. Erläuterungen zum Katalog Jan van Kessel Niederlande Flämische Schule 17.Jh. Originale Stadtansicht Malerei Exotik KESSEL, JAN VAN KESSEL, JAN VAN Antwerp 1626 - 1679 Title: Four Paintings: City Representations from Cylkus "Die Vier Erddeile". Date: 1670-1679. a) Hunting Dog and Hogs on Rhine from Cologne. Oil on etching. 15,5 x 21,5cm. Framed. Verso old inscription: Coelln am Rhein. b) Fish, Squid and Shellfish in Lisbon. Oil on etching. 16,5 x 22cm. Framed. c) Crocodiles in front of a Silhouette of a City (Havana?). Oil on etching. 17,5 x 24cm. Numbered bottom left: 160. Framed. Verso remains of an old inscription: America. d) Monkeys and Penguins in front of a Bay in South America. Oil on etching. 17,5 x 24cm. Framed. Provenance: Private ownership, Germany. We are grateful to Fred Meijer, Amsterdam, for his kind support for the cataloguing of the present paintings. Explanations to the Catalogue Jan van Kessel The Netherlands Flemish School 17th C. Old Masters Cityscape Painting Exotic

India.- Daniell (Thomas) The Entrance Of Indra Sabhâ, etching with aquatint with hand-colouring, on J. Whatman wove paper with watermark date '1801', sheet 545 x 690 mm (21 1/2 x 27 1/4 in), some spotting and browning, with sun exposure affecting title and lower edge, surface dirt, unframed, [Abbey Travel, 420], 1803.

Martin (John).- Milton (John) The Paradise Lost, 2 vol., half-titles, 24 mezzotint plates with etching by John Martin, sheets c.355 c 260 mm (14 x 10"), tissue-guards, occasional spotting, mostly marginal but affecting a few images, contemporary calf, gilt, a.e.g., a little rubbed, slight bumping to corners and extremities, large 4to, Septimus Prowett, 1827.

Piper (John) & others.- Cunard (Nancy) & others. Salvo for Russia, [one of 100 copies], 4pp. letterpress poems, 10 etched/engraved plates by John Piper, John Banting, Julian Trevelyan, John Buckland Wright, Buckland Wright after Roger Penrose, Mary Wykeham, Ithell Colquhoun, Dolf Reiser, C.Salisbury and Geza Szobel, the Piper also with aquatint, on laid paper with "Hand Made" watermark, sheets c.230 x 160mm., all signed in pencil by the artist, most numbered HS or AP/14, some also titled, all but the Trevelyan and Szobel with light marginal foxing, tissue guards (foxed), text a little spotted and soiled at upper edge, loose as issued in original cloth-backed board folder with ties, blue printed paper label on upper cover, spine a little rubbed and faded, small 4to, [1942].⁂ Scarce and important British Surrealist portfolio produced in aid of the Comforts Fund for Women and Children of Soviet Russia. It includes John Piper's first published etching and John Banting's only etching.

Fireworks.- Cochin the Younger (Charles Nicolas, 1715-1790) Préparatifs du grand feu d'artifice... after Giovanni Paolo Panini, ...Que S.E.M. Le Cardinal de Polignac fit tirer à Rome dans la place Navonne le 30 Novembre 1729 pour la Naissance de Monseigneur le Dauphin, etching and engraving, on 18th century laid paper without watermark, sheet 460 x 890 mm (18 x 35 in), numerous expert areas of restoration to tears, loss and handling creases, mainly visible in left and right edges and corners, minor surface dirt, unframed, Paris, [circa 1735]⁂ Large detailed view showing the preparations in Piazza Navona, Rome, for the fireworks display commissioned by Cardinal Melchior de Polignac and held on 30 November 1729 in honour of the birth of the dauphin Louis, son of King Louis XV of France and Marie Leszczyńska. The present etching is based on a veduta painted by Giovanni Paolo Panini [see The National Gallery of Ireland, Dublin, no. 95] that records the ephemeral arches and other festival decorations designed by Pier Leone Ghezzi.

Symbolism.- Rops (Félicien, 1833-1898) Ma Goutte, etching with drypoint, a proof impression before further inscriptions added, the upper sheet carefully laid onto the other, numerous annotations by the artist in red chalk and black ink, signed lower centre, total sheet 500 x 350 mm (19 3/4 x 13 3/4 in), on laid paper without watermark, full margins, spotting, handling creases, some old folds visible, surface dirt, unframed, [cf. Ex. 319 & 320], [circa 1880]; together with another variant impression of a later state of Ma Goutte, etching and drypoint, two sheets conjoined, the large sheet fine wove paper, total sheet 510 x 330 mm (20 x 13 in), unframed, [circa 1880] (2)

δ Brangwyn (Frank) Study for the drypoint etching 'Sermon in the Synagogue', point of the brush and brown ink over pencil, brown wash, white wash, signed with initials in the lower right corner, on thin wove paper, 173 x 150 mm (6 3/4 x 5 7/8 in), laid onto paper support with small etched figure verso, trimmed, probably by Brangwyn, the sheet with some losses, rough edges, tears and handling creases, unframed, [circa 1900 or slightly later]Provenance:inscribed 'FAS' and numbered '102' on paper support⁂ A rare example of a preparatory study by Brangwyn showing the artist's working method for producing prints.δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

Frederik Bester Howard LAUBSCHER (1927-2013)Etching Wapping Wall signed and dated 1947Together with a Thames etching signed K Scott, another signed Retallack and a cartoon

Geoffrey Sneyd GARNIER (1889-c.1971)On the Telford RiverColoured etching Signed and inscribed #9/100Plate size 27.5 x 32.5cm

Felicien ROPS (1833-1898)La Messe De Cnide Monochrome etchingInscribed in pencil 28 x 21 (paper size) Together with another monochrome etching and a monochrome engraving by the same artist (3).

Geoffrey Heath WEDGWOOD (1900-1977)Roman Festa Etching Signed and inscribed Plate size 13 x 19cmTogether with two Hugh Paton etchings, one signed

Théodore Casimir ROUSSEL (1847-1926)FoweyEtching 22.5 x 18cm

A. DUPONTVenetian Canal SceneAcademy Proof etching in colours Signed in pencil Plate size 21 x 29.5cm&E. POPPLE 'The Coming Storm'Monochrome etchingSigned and numbered 97/150 in pencil Plate size 17 x 26cm&Henry George WALKER 'Soft Ground' - Figures and Boats on the Beach and Village Scene with Flock of Sheep Pair etchings in colours Both signed in pencil Plate size 19.5 x 25.5cm&Maurice UTRILLO'Rue Jeanne d'Arc Prolongee a Paris, 1934'Colour Print 20 x 25.5cm(5)

Monochrome etching of a town scene, calendar with etching, a 1920s art deco Erte style art poster.(3).Condition report: Size of poster 69.5 x 47cm.

John Piper C.H. (British, 1903-1992)Flowers IV signed 'John Piper' (lower right)chalk, ink, watercolour and gouache57.8 x 79 cm. (22 3/4 x 31 1/8 in.)Footnotes:ProvenanceWith Waddington Galleries, LondonMrs. M.L. StonePrivate Collection, U.K.Age and some health issues meant from 1985, when Flowers IV was likely painted, John Piper turned more to his own garden for inspiration and subjects. Waddington Galleries put on three exhibitions including these works in 1986, 1988 and 1989. The present work is a precursor to the large oil on canvas Summer Flowers I (1985/6), exhibited in the 1986 show and went on in 1987 to become a popular etching titled Dahlias and Ferns (Levinson 391).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 FLEMING RSA RSW RGI (SCOTTISH 1906 -1994), SHELTERS IN A TENEMENT LANE etching, signed and titled in pencil 21cm x 15cm Mounted, framed and under glass Provenance: Exhibited Royal Scottish Academy Annual Exhibition (Edinburgh) 1942 catalogue number 502. Note: Ian Fleming was a notable artist and engraver and played an important role in the Scottish art world. He was successively a lecturer at Glasgow School of Art for many years and Warden of Patrick Allen-Fraser Art College at Hospitalfield and Principal of Gray's School of Art, Aberdeen. He was a brilliant etcher, a practice he continued into old age. Fleming was born in Glasgow and studied at the Glasgow School of Art. He began printmaking at art school, and Glasgow Art Gallery bought two of his prints while he was still a student. In 1928, Fleming made his first engraving, inspired by Charles Murray (see lot 114). Murray's influence over Fleming was considerable and Fleming learned quickly, soon becoming a highly-skilled engraver. While lecturing at the Art School from 1931, Fleming met William Wilson, the Edinburgh-based printmaker and stained glass artist. They became friends, and their work was mutually influential. He also taught Robert Colquhoun and Robert MacBryde ("the two Roberts") during this time. Fleming produced detailed etchings and engravings of Glasgow, the Scottish Highlands and the Continent.

* CHARLES MURRAY (SCOTTISH 1894 - 1954), CHRYSANTHEMUMS oil on board 64cm X 44cm Framed (original) Provenance: Exhibited: City of Bradford Art Gallery, Cartwright Memorial Hall, Jubilee Exhibition 1954, Exhibit No. 770 (label verso). James Bourlet & Sons label verso no H 2611. Artist's label verso, partially obscured by owners (loan) label: Mr E Grierson, Greystead, Tarset, Hexham, Northumberland. Note: Charles Murray's oil paintings rarely appear at auction and, as he often left his work unsigned, some invariably aren't attributed to him. In October (20th) 2018 Tennants (Leyburn) offered "Crinan, Scotland" a small (23.5 x 35cm) watercolour with Leicester Galleries (London) "Artists of Fame & Promise Exhibition" provenance, which sold for £1600 (hammer). Charles Murray was born in Aberdeen and studied at the Glasgow School of Art for three years. He served with the ‘White Army’ in Russia from 1918-20, joining a diverse group of counter-revolutionary forces who fought against the Bolsheviks. On his return to Glasgow, Murray won the highly coveted "Prix de Rome" for etching and studied at the British School in Rome from 1922-25. He travelled extensively in Europe but came back to Scotland in 1926 to teach engraving at the Glasgow School of Art, and later lived in Leeds and Middlesex. He produced paintings and etchings in a style influenced by Mannerism. Murray had his first major one-man show at The Leicester Galleries (London) in 1946 and another at Batley Art Gallery in 1950. There was a Memorial exhibition at Temple Newsam House (Leeds Museum & Art Galleries) in 1955 and an Edinburgh International Festival show at the Merchant Company Hall in 1977. Murray's paintings have always attracted academic acclaim and the Tate bought one of his paintings in 1940. Thirty of his paintings are held in UK Public collections including at Glasgow Museums & Art Galleries, the Arts Council Collection (Southbank Centre), Bradford Museum & Galleries, the Ferens Art Gallery, The Hepworth, Leeds Art Gallery and Museums, Kirklees Museum & Galleries, Sheffield Museums, Aberdeen Art Gallery & Museums and Tate (London).

* IAN FLEMING RSA RSW RGI (SCOTTISH 1906 -1994), VILLAGE SCENE FROM HILLTOP etching, signed and dated '33 in pencil 26cm x 32cm Mounted, framed and under glass

* ROBERT SARGENT AUSTIN RA PRWS PRE (BRITISH 1895-1973) THE BALLET DRESS watercolour on paper, signed; titled verso 52.5cm x 59cm Mounted, framed and under glass Note: Robert Austin's watercolours very rarely appear at auction, anywhere. Note 2 : Robert Sargent Austin’s talent was first recognised publicly, as a precocious eight year old, when he successfully submitted work to the Royal Drawing Society in his hometown of Leicester. His friends would later say that art became to him as essential as breathing, and this early success marked the beginning of a daily drive to draw, paint and etch that would mould him into the artistic force that he became. Natural talent led to his enrolment at the Leicester Municipal School of Art in 1909, from where he won a scholarship to the Royal College of Art in 1914. In London, serious, patient, comprehensive study of life drawing was the first discipline taught and can be singled out as the experience that most influenced his uncompromising attitude to learning and practising art. The First World War interrupted his progress; he served as a gunner in the Royal Artillery from 1915-1919, however the delay meant that he became a pupil of the famous etcher, Sir Frank Short, when he resumed his studies. Robert Sargent Austin’s career was notable for the ease with which he perfected different artistic techniques, and his etchings under Sir Frank Short were so proficient that he won a scholarship to the British School in Rome in 1921. In Rome he befriended and worked with Charles Murray (see lot 114). This was an unrivalled opportunity to be immersed in Italian artistic culture and if his methodology was formed at the Royal College of Art, then his style was most influenced by this period of discovery. Through extensive travel around the country and careful study of the landscape and paintings, particularly the prints of the Old Masters, he found a source of influence that perfectly suited his own exacting practice of art. Additionally this also convinced him that line engraving was more suited to his temperament than etching. Mastering this new technique with ease he returned to England in 1926, a married man since 1923, and took up the post of Professor of Engraving at the Royal College of Art. He held this post until 1944 and the teaching of art quickly became as important to him as its practice. Pupils remember him as tough, frightening and often brutally honest, but found him an inspirational, dedicated teacher who would devote himself to students that showed enthusiasm. He was interested only in the execution of art; when he was given his new college name-plate he hung it over his lavatory door at home, highlighting a lifelong disinterest in the aggrandisement of ‘Art’ and its multifarious pretensions. A former pupil remembers him saying “We can talk about Art later, let’s find out how to draw first.’ He was promoted to the role of Head of Graphic Design at the Royal College of Art in 1948, but turned down the position of Principal as he wanted to remain an artist not an administrator. Robert Sargent Austin’s purchase of a studio at Burnham Overy Staithe, Norfolk, in 1935 and the lives of his three children most influenced the content of his output. The Norfolk wildlife fascinated him (he particularly adored birds) and the landscape he found there stirred him to paint; his family remember him rising before dawn most days to capture the summer light at its purest between five and seven. The activities of his growing children, both in Norfolk and London, were his other constant source of artistic subject matter as the selection in this show demonstrates. During the Second World War he was appointed official war artist to the Royal College of Art at Ambleside and his art became temporarily dominated by the Woolwich Arsenal, nurses, fighter pilots and other workers, particularly women, whom he felt were under represented in the War effort. The Imperial War Museum now holds thirty four of these pieces. The 1940s and 50s were dominated by a series of prestigious appointments and commissions in recognition of his prodigious talent. He was elected to the Royal Academy in 1948, made President of the Royal Watercolour Society in 1956 and asked to design the Bank of England’s new bank notes in the same year. In 1962 he was also elected President of the Royal Society of Painter-Etchers. Essentially a humble man, he remained devoted to art for its own sake, uninterested in selling it or even receiving approval from others. Despite this, his pictures are now held in the collections of the Tate Gallery, The Victoria and Albert Museum, The Fitzwilliam Museum, The British Museum and The Ashmolean Museum and a huge retrospective of his work was held at the latter in 1980.

ARTHUR WILLIAM HEINTZELMAN (AMERICAN 1891 - 1965), MONTAGNARD DE LA HAUTE SAVOIRE, 1929, (Smith 146) drypoint etching on cream laid paper, signed in the plate, further signed in pencil, edition of 80 30cm x 23cm Mounted, framed and under glass See notes with lot 115.

ARTHUR WILLIAM HEINTZELMAN (AMERICAN 1891 - 1965), LA VIERGE ET L'ENFANT JESUS (Smith 155) drypoint etching on cream laid paper, 1929; edition of 70, signed in pencil 30cm x 23cm Mounted, framed and under glass Note: Born in Newark, New Jersey, Arthur William Heintzelman was a painter, etcher, copyist, teacher, and curator. Raised in Providence, Rhode Island, he first studied art at the Rhode Island School of Design, where he subsequently taught, and also in Europe. In 1921, the Heintzelmans moved to Paris and made their home in France, subsequently moving to Switzerland in 1931 and remaining there until 1934, when they returned to the United States. Already widely respected as a printmaker prior to his departure for Europe, he became internationally famous during his years abroad and was - and is - regarded as one of the greatest etchers of the Twentieth Century. During his years in Paris, Heintzelman met Eugène Delatre, who became his printer for the remainder of his stay in Europe, and who taught Heintzelman the intricacies of fine art printmaking for which his atelier was justly famous. In appreciation for his contribution to French art and culture, Heintzelman was named to the Legion of Honour by the French government. Following his return to the United States, Heintzelman became the first Keeper of Prints at the Boston Public Library and served there from 1941 to his retirement in 1960. Thanks to his close relationship with the Delatre family, Heintzelman coordinated the gift of the comprehensive collection of prints by both Auguste and Eugène Delatre to the Boston Public Library. He was succeeded as Keeper of Prints by Sinclair Hitchings. Heintzelman also headed the Fine Arts department of the Rhode Island School of Design. He was awarded numerous international prizes for his etchings, and his works are found in museum collections through the US and Europe. Heintzelman belonged to numerous professional associations both in the US and abroad. He lived and worked in Boston, Marblehead, and Rockport, Massachusetts and in New York City. He died at Rockport, Massachusetts. The works of Heintzelman are documented in The Prints of Arthur Wm. Heintzelman, the catalog raisonné compiled by Donald Eugene Smith and published by the Boston Public Library (USA) in 2004.

FRANK WESTON BENSON (AMERICAN 1862-1951), BALDPATES etching, signed in pencil 19.5cm x 25cm Mounted, framed and under glass

A SILVER CHILD'S CUP, ANTHONY HAWKSLEY, LONDON, 1972 the spot hammered compressed baluster body with an acid etched oval of a pair of dancing teddy bears, on spreading rim foot 8cm diameter, 181gr (5oz) Anthony Paton Hawksley (1921-1991) trained at the Maidstone School of Art and the Royal College of Art. His work is represented in The Pearson Silver Collection, the Victoria and Albert Museum and many Oxford colleges. This cup (or bowl) was probably retailed by Payne & Son of Oxford, with whom Hawksley enjoyed a long association. At this date Hawksley was producing silver from his home-based workshop at Great Rollright in north Oxfordshire. He began experimenting with acid etching on silver in the early 70s; each piece he made for a large commission for Wolfson College features this decoration. For further information see John Andrew and Derek Styles, 'Designer British Silver', Woodbridge, 2015, pp.246-251.

[Gillray (James)] 'A View of the Pier of Scarborough', H. Humphrey, June 18th 1807, hand-coloured etching, plate mark 208mm x 257mm, mounted, framed and glazed (small closed tears in margins) [BMSat 10790]

Warwick Reynolds (1880-1926) pencil signed etching of a Lion, pencil signed, framed23 x 25 cm

Fred Arthur FARRELL (1882-1935) signed etching "Notre Dame Cathedral, Paris" signed in pencil, 28 x 38 cm

Paul DOM (Holland 1885-1978) etching "Amsterdam street scene", signed and inscribed in pencil, wood frame and glazed,30 x 30 cm

Ronald Basil Emsley WOODHOUSE (1897-?) etching "The Golden Ball pub", signed & inscribed in pencil, framed and glazed,27 x 38 cm

Miklos VADASZ (1884-1927) 1906 etching "The billiard game, Paris", signed in pencil and inscribed verso, unframed,17 x 12 cm

Henry George RUSHBURY (1889-1968) pencil signed etching "St Martins in the field", thin ebonised wood frame,30 x 27 cm

Unusual, early 20thC unsigned double-sided etching (test proof) "The builders" circle of Frank Brangwyn, unframed,27 x 18 cmUnusual etching as the image has been pressed to one side then turned over and pressed the other way round on the other side so it is up-side down to the other side.

Robert Walker MACBETH (1848-1910) pencil signed etching, "Moonlit country scene", signed in original wide frame,25 x 38 cm

*•David Inshaw (British 1943). Untitled, signed and numbered 42/45, etching and aquatint, 58cm x 65cm. Provenance: Louise Pickering Fine Art.

*•John Hubbard (American 1931-2017). Untitled, signed and numbered 7/35, etching, 66cm x 59cm.

*•John Hubbard (American 1931-2017). Raised Beds, signed, titled and numbered 11/35, coloured etching, 42cm x 39cm.

*•John Hubbard (American 1931-2017). Untitled, signed and numbered 7/35, coloured etching, 38cm x 43cm.

*Michael Chaplin (American). Two Dutch Barges, etching, first state Proof, 35cm x 45cm.

A FRAMED AND GLAZED COLOURED ETCHING DEPICTING A WINDMILL SIGNED HANS FIGURA

SternlüsterEntwurf 1931 Charles J. Weinstein Company New York, in der Art des Herrnhuter Sterns gefertigter Lüster aus klarem Kristallglas, mit matt geätztem, stark reliefiertem Eisblumendekor, versilbertes Metallgestell mit Altersspuren, an massiver Gliederkette aus Bronze abgehängt, einflammig elektrifiziert, funktionsfähige Elektrik, H 113 cm, D 72 cm. Quelle: Interior Architecture and Decoration, USA 1931, Abb.;A. Duncan, Art déco american, Paris 1986, p. 69; A. Bony, Les annees 30, Paris 2005, p. 998; Charlotte and Peter Fiell, 1000 Lights 1879-1959, Köln 2005, S. 284. Star Chandelierdesigned in 1931 by the Charles J. Weinstein Company New York, made in the style of the Moravian Star, made of clear crystal glass, with matt etching, heavily reliefed ice flower decoration, silver-plated metal frame with traces of age, suspended from a solid bronze link chain, electrified with one lamp, functional electrical system, height 113 cm, diameter 72 cm. Source: Interior Architecture and Decoration, USA 1931, ill .; A. Duncan, Art Deco American, Paris 1986, p. 69; A. Bony, Les annees 30, Paris 2005, p. 998; Charlotte and Peter Fiell, 1000 Lights 1879-1959, Cologne 2005, p. 284.

Alfred L. Brunet-Debaines, Blick auf WestminsterBlick über die Themse auf Palace of Westminster mit Big Ben und Westminster Abbey sowie im Vordergrund die im Bau befindliche Westminster Bridge, Radierung, rechts unten in Blei signiert „Brunet-Debaines“, rechts oben in der Platte bezeichnet „Copyright 1894 by Thomas Agneur and Sons...“, leicht gebräunt, im Bereich des Himmels leichte Spuren blauer Farbe, hinter Glas gerahmt, Darstellungsmaße ca. 45 x 74 cm, Falzmaße ca. 64 x 92 cm. Künstlerinfo: frz. Zeichner und Graphiker (1845 Le Havre bis 1939 Hyères), Sohn des Architekten Charles-Louis-Fortuné Brunet-Debaines, ab 1863 Studium an der Ecole des Beaux-Arts in Paris bei Maxime Lalanne und Jules-Ferdinand Jacquemart, 1866 erste Ausstellung seiner Werke im Pariser Salon, um 1870 lud der Schriftsteller und Kritiker Philip Gilbert Hamerton ihn nach England ein, um Radierungen für die Zeitschriften The Portfolio und Etching and Etchers anzufertigen, 1872-1886 stellte er regelmäßig in den Ausstellungen der Royal Academy aus, ab 1882 Mitglied der Royal Society of Painter-Etchers and Engravers, Quelle: Wikipedia England.

After Lucien Gautier landscape, monochrome etching 35x66cm, trimmed maple frame.

Robert Gillmor Tawny owl & Great spotted woodpecker two pen and ink drawings, signed with initials 14x19cm being illustrations for Birds in Leicestershire by Ron Hickling; John Paige Roe-deer silkscreen print; John Paige Fallow buck etching; and three photograph bird prints, (6).