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Preisdatenbank abonnierenδ Julian Trevelyan (1910-1988)Spinnakers (Turner 247)Etching, aquatint and soft-ground printed in colours, 1972, signed, titled and numbered from the edition of 65 in pencil, on T H Saunders wove paper, printed by Studio Prints, Ltd, published by Leslie Waddington Prints, London, with full margins, sheet 735 x 582mm (29 x 23in) (unframed)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
δ Zoran Antonio Music (1909-2005)UntitledEtching, 1959, signed, dated and numbered from the edition of 95 in pencil, on B.F.K Rives paper, with full margins, sheet 505 x 652mm (19 7/8 x 25 6/8in) (unframed)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Late 16th century AD. A Western European war hammer (reiterhammer) made of two pieces, the iron shaft and the head; the head made as a single solid iron bar, shaped like a squared hammer from one side and a pointed curved spike from the other side; the head showing a strong quadrangular outline, fixed to the shaft with an upper insertion hole and then rivetted, with the help of an auxiliary iron cap; the spike is a 'raven beak' shape of pointed section, while the hammer is flat at the top; the shaft is circular and ends, in the lower part, with a short handle between two and three circular grooves. See Thordeman, B.,Armour from the Battle of Wisby, Malmö, 1939 (2001); Wilkinson, H., Antique Arms and Armour, London, 1972; Edge D., Miles Paddock J., Arms and Armour of the Medieval Knight, London, 1988; our war hammer is of the type used by European cavalry in the 16th century, represented in the iconography (battle of San Romano, painting by Paolo Uccello of 1455 AD; portrait of Maurice of Saxony made in 1578 AD by Lucas Cranach the Younger) and correspondent with various specimens, such as the one exhibited in the Deutsches Historisches Museum in Berlin. 903 grams, 58cm (22 3/4").From an important private family collection of arms and armour; acquired on the European art market in the 1980s, and thence by descent; accompanied by an academic report by military specialist Dr Raffaele D'Amato.This war hammer is of the type used by European cavalry in the 16th century, represented in iconography (battle of San Romano, painting by Paolo Uccello of 1455 AD; portrait of Maurice of Saxony made in 1578 AD by Lucas Cranach the Younger) and showing parallels with similar examples in the Deutsches Historisches Museum in Berlin. Reiterhammers of this type are called ‘raven’s beak’ (bec de courbin) in the sources; the shaft was originally a wooden shank reinforced by metal shafts with one-handed handle, but in the later models, like our specimen, the astile could be entirely in metal, thinner than the wooden one, with guard and knob to better ensure the grip on the handle for a user wearing a glove. The war hammer was developed to counter the protection offered by plate armour, which made simple cutting weapons useless. In a military context dominated by the figure of the knight in plate armour, the sword lost its status as a weapon par excellence. The evolution of this offensive weapon ran in parallel with that of complete armour. When the latter developed ridges to limit the damage from thrusting hits, the war hammer gained prominence as a penetrating weapon. Weapons capable of concentrating a considerable force on a narrow target, a joint or a precise point of the armour proved to be more effective in the fray. As much as the mace of arms and the archer’s axe, the war-hammer became a decisive melee weapon for the knight. The weapon, descended from the East-Roman akouphion, began to be used by armoured knights in the 14th century, due to the need to better the axe and the mace of arms with a piece of equipment capable of inflicting injuries through armour. It reached its full development only at the end of the 15th century, but its wide use in the 16th century is widely documented by archaeological artefacts and iconography, like the one representing the battle of Dreux, in an engraving of 1588 AD, one of the first clashes of the Wars of Religion in France, where knights are visible fighting on horseback with such weapons in their hands. The war hammer was often visible in tournaments, and, much like sword hilts, war hammers became richly decorated with etching and gilding, often appearing to be works of art. However, they never lost their primary function as dangerous weapons (Edge-Miles Paddock, 1988, p.149"). With the seventeenth century and the establishment of portable firearms (pistol and petronel) as weapons of the new heavy cavalry (Cuirassiers and Reiters) the war hammer disappeared from western battlefields. In Eastern Europe, its variants, such as the Polish nazdiak, remained in use among cavalry forces until the 18th century, when it finally fell into disuse along with the axe and mace, starting from the Napoleonic Wars, when the model of the horseman armed only with sabre and pistol became dominant.Fine condition.
Leda May (20th century British) - Still life with pears, pastel on paper, signed and inscribed verso Leda May, Bally Delob, County Cork, 29 x 20cm, a signed limited edition black and white etching of a basket of fruit, with initials MEU, 9 x 11cm, a Japanese coloured woodblock print of a mountain range, 24 x 37cm approx., two coloured prints after Frances Marsh - Still Life and Christoph; Chernobyl Expanses II, mixed media abstract on paper, signed with initials and dated 95, inscribed verso Boris Ivanov, 23 x 35cm, various sizes, all framed (8)
Édouard Manet (French 1832-1883) LE CHAT ET LES FLEURS signed in the plate etching and aquatint sheet size: 32,2 by 21,4cm MANET ‘LES CHATS ET LES FLEURS’ Edouard Manet is considered a significant forerunner of the Impressionist movement. After travelling to Germany, Italy, and the Netherlands between 1853 and 1856, he opened a studio and began producing work inspired by the artists he discovered on his travels. These included the Dutch painter Frans Hals and Spanish artists Diego Velazquez and Francisco de Goya.1 Unsurprisingly, Le Chat et les Fleurs deliberately suggests of one of Manet’s favourite masters, Goya, evidenced in the strong line style, gloomy tones, and stippled aquatint background. Although predominantly known as a painter, Manet produced a series of illustrations of cats for Jules Champfleury’s book entitled Les Chats. Le Chat et les Fleurs (Cat and Flowers) echoes the cat and flower imagery in Manet’s Olympia, one of his most well-known paintings. Champfleury’s book represents some of Manet’s finest illustrative work which was then reproduced posthumously using the original plates in three strikes, after which the plates were destroyed to make reproduction impossible.2Le Chat et les Fleurs is one of Manet’s finest prints, the sharp lines contrasting with a dappled and tonally accurate background. The side profile of the cat in the foreground allows the viewer to differentiate between the finer details of the work. - T.W.1. "Edouard Manet as an Illustrator." Philadelphia Museum of Art Bulletin 62, no. 293 (1967): 223-35. Accessed January 10, 2020. doi:10.2307/3795194. 1. Harris, Jean C. "Prints by Manet." Bulletin of the Detroit Institute of Arts 49, no. 3/4 (1970): 47-62. Accessed January 10, 2020. www.jstor.org/stable/41504479.
A quantity of assorted 19th and 20th century pictures, prints and etchings, including a colour lithograph by Fred Uhlman; a pen and ink illustration by Claude Shepperson, a watercolour signed Francel; A pencil and watercolour of fighting cocks by Juan Benito; An etching by Eugene Delacroix; An etching of Liberty; An etching of Kookaburras by Sidney Long, all unframed, various sizes. (qty) C2
A group of 20th century pictures and prints, including a signed print by Pietro Annigoni, a colour etching of St Mawes by Glynn Thomas, etchings of Mt John Dummelow and Catherine Cookson by Christopher Robinson, a charcoal portrait sketch signed J. Courtney, an etching by Jane Dowling and others, a pencil drawing of David Lloyd George, all unframed (Folio). CAB
NO RESERVE Gillray (James, 1756-1815) John Bull bother'd or The geese alarming the Capitol, William Pitt spies flocks of Sans-Culottes, Scots and Irish rising up and coming for England, while an anxious John Bull with a broken bayonet and the "Rights of Man" in his pocket, sees only a few geese in the distance, etching and aquatint printed in brown ink on cream wove paper without a watermark, platemark 315 x 395 mm. (12 1/2 x 15 1/2 in), sheet 370 x 525 mm. (14 1/2 x 20 3/4 in), minor surface dirt and handling creases, one small tear in the lower margin, well outside the image, unframed, published by Hannah Humphrey, 1792.Literature:BM Satires 8141
NO RESERVE Gillray (James, 1756-1815) Dilettanti-theatricals: -or- a peep at the Green Room. -vide Pic-Nic orgies, etching and aquatint printed in dark-brown ink on wove paper with indistinct watermark of initials, platemark 310 x 485 mm. (12 1/4 x 19 1/8 in), minor nicks and tears to extremities, some surface dirt, unframed, published by Hannah Humphrey,1803.Literature:BM Satires 10169
NO RESERVE Gillray (James, 1756-1815) Doctor Sangrado curing John Bull of repletion-with the kind offices of young Clysterpipe & little Boney- a hint from Gil Blas, Addington bleeds an exhausted John Bull, the blood spouting into Little Boney's outstretched hat, and another held by Addington's son, etching printed in brown ink on cream wove paper without watermark, platemark 257 x 357 mm (10 1/8 x 14 in), sheet 335 x 470 mm (13 1/4 x 18 1/2 in), minor surface dirt and handling creases, unframed, [BM Satires 9986], published by Hannah Humphrey, 1803; John Bull's Progress, etching printed in brown ink on cream wove paper without watermark, platemark 305 x 380 mm. (12 x 15 in), sheet 360 x 490 mm. (14 1/4 x 19 1/4 in), minor surface dirt and handling creases, unframed, [BM Satires 8328], published by Hannah Humphrey, 1793; together with three plates from Ackermann's Repository including two plates of Westminster Abbey, and a lithograph Harrow School Chapel printed by Hullmandel, all unframed (6).
Birds.- Audubon (After John James) A group of seven Havell edition plates from 'Birds of America', including Boat-Tailed Gackle [pl. 187], Townee Bunting [pl. 29], Chipping Sparrow [pl. 104], Traill's Fly-catcher [pl. 45], Snow Bunting [pl. 189], Pine Creeping Warbler [pl. 28], and Yellow Throated Vireo [pl. 119], engraving with etching, aquatint and hand-colouring on cream laid paper, the first two mentioned with J Whatman watermarks dated '1833' and '1827' respectively, the latter five plates using the similar paper stock but margins trimmed, Snow Bunting with partial Whatman watermark, the first two mentioned with full sheet but folded to 730 x 600 mm. (28 3/4 x 23 3/4 in) and 670 x 520 mm. (26 1/2 x 20 1/2 in), respectively, the latter five sheets trimmed to between 580 x 395 mm. (22 3/4 x 15 1/2 in) and 590 x 455 mm. (23 1/4 x 18 in), folds and handling creases, occasional surface dirt and spotting, loose, unframed, Robert Havell, [circa 1826-1838] (7)
NO RESERVE Gillray (James, 1756-1815) Political Mathematician's, Shaking the Broad bottom'd Hemispheres, etching in brown ink on cream wove paper without watermark, platemark 320 x 420 mm. (12 1/2 x 16 1/2 in), sheet 360 x 495 mm. (14 1/4 x 19 1/2 in), minor surface dirt, unframed, published by Hannah Humphrey, 1807.Literature:BM Satires 10697
IDRIS PARRY, ILLUSTRATED BY ISLWYN WATKINS Stream and Rock. Limited edition No.6 of 20 copies. Hand printed on Easter Sunday 1973 by Duine Campbell and signed by him, Idris Parry and Islwyn Watkins in pencil on the colophon. Printed on Barcham Green's Hayle demy handmade paper with three etchings by Islwn Watkins. This edition fully leather bound in morocco leather by Sangorski and Sutcliffe and to include another, signed loose etching by Watkins with number corresponding to the volume. With hard protective sleeve. Prov: The Estate of Islwyn Watkins
In the style of Christopher R.W. Nevinson, (PROBABLY BY CLAIRE LEIGHTON) a set of six early/mid-20th century framed and glazed monochrome dry-point etching depicting a labouring, farm scene, farm animals etc., together with one other similar smaller example (oak framed and glazed), depicting five farm workers at rest sitting below a tree and with tankards of cider, the larger etchings approx. 22cm x 26.5cm
Tracey Emin (1963-), "Suffer Love", signed and dated '09 in pencil in the margin, etching, plate size 10 x 14.5cm, 4 x 5.75in, sheet size 15.5 x 20.5cm, 6 x 8in. Artists’ Resale Right (“droit de suite”) may apply to this lot.Condition report: The print is in very good, original condition with no obvious faults to report. The print is ornately framed and glazed.
David Hockney R.A. (British, 1937-), "Sunflowers II", signed, dated '95 and numbered 36/80 in pencil in the margin, on Arches paper, co-published by the artist and Lococo Mulder, Inc., St. Louis, with the artist's blindstamp, with full margins, etching and aquatint, plate size 46.5 x 39cm, 18.25 x 15.25in, sheet size 68.5 x 57.5cm, 27 x 22.75in. Artists’ Resale Right (“droit de suite”) may apply to this lot.Condition report: The print is in very good, original condition. There are one or two tiny spots of foxing in the margins and a small area of light browning in the top centre margin. The sheet has slipped from its mountings and will need reattaching. The print is ornately framed and glazed.
Julian Trevelyan R.A. (1910-1988), "Moscow", signed and titled in pencil in the margin, etching with aquatint, plate size 38 x 50cm, 15 x 19.75in. * He was a tutor at Chelsea School of Art, 1950-60 and engraving tutor at the Royal College of Art, 1955-63. Made Honorary Senior Royal Academician in 1986. Tate Gallery holds his work. Artists’ Resale Right (“droit de suite”) may apply to this lot.Condition report: The print is in very good, original condition. There are some light creases across the paper and some overall yellowing as well as one or two spots of minor foxing. The print is framed and glazed.
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