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78472 Los(e)/Seite
Los 708
SIR FRANK BRANGWYN (1867-1956) 'CANAL, GHENT', barges in the Flemish region of Belgium, signed to lower margin, Matthews and Brooke of Bradford label verso, drypoint etching on paper, approximate image size 14cm x 11cm, mounted and framed (condition: print in good condition, staining to the mount)
Los 1012
Francis St Clair Miller, ''Crackpot Side, Swaledale'' signed, inscribed and numbered 21/75, etching; together with a 20th century port scene, indistinctly signed; Victor Noble Rainbird, 'Fisherfolk Northumberland' signed and inscribed watercolour; and a group of further pictures and prints (12)
Los 18
John Wells (1907-2000) Untitled Signed and dated 1950, numbered 8/25, etching, 22.5cm by 15cm See illustration Artist's Resale Rights/Droit de Suite may apply to this lot, please refer to our Terms of Business Condition Report: Slight time staining to paper. Light surface dirt and some debris trapped under the glass, particularly to the mount. Mount also time stained with sporadic foxing spots in places. Slight creasing to paper. Small sized foxing spot to upper left of left margin and tiny blue mark next to this. A number of small sporadic foxing spots to the reverse. Some very slightly evident within the image. Water stain to bottom edge of the mount and upper edge, these do not appear to affect the print as they are below the margins. See additional images
Los 88
Norman Ackroyd CBE, RA (b.1938) ''Black Head, Co. Clare'' Signed, inscribed and numbered 4/150, dated 1996 etching and aquatint, together with a further etching by the artist ''Tearaght'' , 18cm by 10.5 cm and 5cm by 9cm respectively (2) (unframed) Provenance: Reverend Dr Richard Davey Artist's Resale Rights/Droit de Suite may apply to this lot, please refer to our Terms of Business
Los 4018
John Speed (1552-1629), by and after, a two-page map, The Counti (sic) of Warwick the Shire Towne (sic) and Citie (sic) of Co:ventre (sic) described, [London]: [...] Sold by Thomas Bassett in Fleetstreet (sic), and Richard Chiswell in St. Pauls Churchyard, dated 1630 within the platemark, named-view street plans of Warwick and Conventry, the lower-right margin with the coats of arms of the Earls of Warwick of all four creations, etching and engraving with contemporaneous hand-colouring, vernacular English text to verso, 40cm x 54cm
Los 4019
John Speed (1552-1629), by and after, The Countie (sic) Westmorland and Kendale (sic) the Chief Towne (sic) Described, With the Armes of such Nobles as have bene (sic) Earles (sic) of either of them, aerial named-view of Kendal, [London]: Sold by George Humble in Popes head alley (sic) against the Exchange, [n.d., c. 1646], etching and engraving with contemporaneous hand-colouring, English vernacular text to verso, 39.5cm x 52cm, Hogarth-type frame
Los 4048
After Walter Dendy Sadler (1854-1923), a collection of five prints, various titles and subjects, signed in pencil by the artist and the engravers, London: 1921, monochrome etchings, the largest 50.5cm x 65cm, (5); Fishing, David Law (1831-1902), by and after, Coilantogle Ford, [Scottish Highlands], signed and titled within the plate, signed again in pencil, etching, 35cm x 44cm, (1), [6]
Los 4050A
Local Interest - John Bluck. (act. 1791-1819), after Thomas Christopher Hofland RBA (1777-1843), a set of six Derbyshire landscapes, of Dovedale, Matlock Bath and Matlock, numbered consecutively from 1-6, ruled borders painted in grey wash, [London: Published by T. Barber and T. Hofland, 1805], aquatint and etching with hand-colouring, 31cm x 39cm, framed en suite in contemporaneous rosewood with gilt insets, [6]
Los 4054
Caricatures - George Cruikshank (1792-1878): by, Very unpleasant weather, or, the Old saying verified "Raining Cats, Dogs, & Pitchforks"!!, monogrammed A.E. within the plate, second and final state, London: Published by Thomas Mc Lean, Aug.t 1st, 1835, monochrome etching, 27cm x 42cm, (1); another, by and after, The first Shilling-day - going in -, [&], The first Shilling-day - coming out -, [of the 1851 Great Exhibition], [London: David Bogue, 1851], monochrome etchings, each 13.5cm x 20cm, framed as one, (2), [3]
Los 4111
Bernard Baron (1696? - 1762), after William Hogarth FRSA (1697-1764), The Right Reverend Father in God, Dr Benjamin Hoadly, Lord Bishop of Winchester, Prelate of the Most Noble Order of the Garter, ÆT. 67. A.D. 1743, [London: 1743-1744], etching, 41.5cm x 28cm, gilt and ebonised frame; Francesco Bartolozzi RA (1727-1815), after Giovanni Battista Cipriani RA (1727-1785), [The Rape of Dejanira], [London]: Publish'd as the Act directs by F. Bartolozzi 1787], monochrome etching, 26.5cm x 32cm; Pierre-Etienne Moitte (1722-1780), after Pierre-Antoine Baudouin (1723-1769), [Le Confessionnal], unlettered state, [Paris: 1777], etching and engraving, 32.5cm x 42cm, [3]
Los 443
Edvard Munch(Norwegian 1863-1944)NORWEGIAN LANDSCAPEetching sheet size: 10,5 by 15cm We believe that Stephan Welz & Co is the first auction house in South Africa to offer an artwork by the incomparable Edvard Munch. Munch is one of the great masters of Modernism and he is known for producing artwork that reveal and communicate inner turmoil and existential states. While Munch is known for The Scream and other stirring paintings which express the intricacies of human nature, the conflict, the confusion and the pain of existence, there is a fragility that Munch seemed better able to express through the medium of printmaking. Munch experimented with several printmaking techniques and he is credited with introducing woodblock prints to Norway. In 1902 Munch presented a body of work that presented several facets of human experience, which he called The Frieze of Life. The work brought the artist acclaim but while his career thrived, his physical and mental health deteriorated. In 1908, after several years of success, Munch began engaging in a number of activities that the artist seemed to be drawn to as a means of escapism that proved to be self-destructive. During this time the artist travelled relentlessly and drank to excess yet he has been described as experiencing chronic anxiety. Eventually the artist was committed into Dr Jaconson’s private clinic in Copenhagen for a number of months. Norwegian Landscape is an exceptional work, as it reveals the human experience at its most fragile and raw. Munch created the work in 1908, it is the first artwork that he produced after his nervous breakdown which occurred in the same year. This work is a testament to the courage of a soul, completely undone yet still compelled to put etching needle to copper plate in order to express himself. Graphologists claim that one’s handwriting can be altered directly after experiencing a trauma, this notion may be evident in this etching, the delicate lines that collectively form this etching seem tentative. Could this etching be a result of the artist testing whether his artistic abilities are still intact during a situation where those who have experienced a breakdown express a sensation of being mentally unravelled. Or, was the making of this print entirely out of a sense of compulsion, the action of creating an etching so familiar that the artist found it a comfort? In 1908 Munch sat down, very possibly in the garden at Dr Johnson’s private clinic and completed a landscape that depicts nature in its inclusion of two trees in the frground, as well as rolling hills in the background, but which still seems barren and devoid of life. The perspectival lines that depict the road or ditch, portraying an unceasing distance, such as that described by many experiencing personal anguish, the path back to normalcy seems endless. The landscape is overall stark, quiet, lonely, the black etched lines are sharp, like incisions on the paper. The composition is secluded except for the one small element of hope, a little cottage along the mid-right margin. The mere act of creating a piece of art may signal Munch’s first steps out of the mire of his breakdown. This is a work of courage. It depicts the boldness of an artist who has experienced hell and is unafraid to reveal the pain of the journey. While this print would have been a later state, it is difficult to say of which state it is a part as some catalogues refer to the work having two states, while others comment that three states were produced. The print was published by Paul Cassirer in Berlin in 1908. Source: Munchmuseet
Los 488
A DECORATIVE ETCHING OF A SCOTTISH LOCH 11cm x 15cm, indistinctly signed and inscribed in pencil in the margin, together with further decorative watercolours, prints and photographs to include a set of three Japanese calendar prints in frames, Condition: the frames with marks, dents and scratches; the pictures generally in moderate condition overall
Los 263
Graham Clarke (born 1941) - Artist proof etching - "Gardener's Cottage", 13.5ins x 21ins, and two limited edition etchings - "St. Winiwalloes Dream", No. 47 of edition of 75, and "Dance by the Light of the Moon", No. 5 of edition of 50, all signed in full in pencil, and in gilt frames and glazed
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78472 Los(e)/Seite