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78472 Los(e)/Seite
Los 133
Appleby, William Crawford - Etching - Gateway to KES, New Street - 36.5cm x 22cmWilliam Crawford Appleby (1889-?) Etching of the gate to King Edward School, New Street, Birmingham designed by Charles Barry and Augustus Pugin, constructed 1833-1837. The school was demolished in 1936 to make way for the present King Edward House. Signed W C Appleby on the stonework at lower right, and signed in pencil below.
Los 182
A quantity of assorted engravings and prints, including a hand coloured engraving of Malta; an etching of the interior of Winchester Cathedral; an architects prospect of The Faulkner Clock Tower, St George's Circus, London, sepia watercolour; and others including views of Gibraltar and Malta.(qty)
Los 139
A Russian Parcel-Gilt Silver Wager-Cup, by Pavel Fedorovich Sasikov, St Petersburg, 1862, Assay Master Edward Brandenburg, formed as a female figure in traditional Russian costume and wearing a kokoshnik , the bodice tightened at the waist and with flowing dress finely chased and engraved with foliage and flowers on a matted ground, holding aloft two grotesque-capped brackets which support the pivoting cup, with a copy of a letter from Garrard relating to the present cup and quoting Geoffrey Munn, 26.5cm high, 18oz 10dwt (2) . Fully marked on the back of the skirt. The cup with part marks underneath. The marks are clear, though with some wear to those on the cup. In generally good condition with fine etching on the skirt and good quality casting. The pivoting cup does not sit level, though there is no obvious bruise to the arms.
Los 1
Natura morta con vasetto e tre bottiglie. 1946. Etching on japan paper. Cm 13,30 x 17,30. P.d.a. Edition, signature and year lower in pencil. Signature lower centre in plate. Plate size: 24.8x17,3 cm. Publisher: Edizioni del Milione (print at the back). Glue and paper traces at the back in the upper margin.
Los 2
Il ponte sul Savena a Bologna. 1912. Etching on zinc. Cm 22,10 x 16,40. 9/50. Sheet size: 24.9x34.5. Signature and date in pencil on the lower right margin: Morandi 1912, edition lower left: 9/50. On the reverse: stamp Galleria del Milione, Milan, with n. 5822. Provenance: Giancarlo Pasi Collection, Ravenna. Bibliography: Lamberto Vitali, n. 1; Michele Cordaro, Morandi etchings. General Catalog, Electa Editions, Milan, 1991, p. 3, n. 1912 1. Second state out of three, edition of 50 numbered copies. Frame present
Los 3
LeTabournet dans l'atelier. 1964. Etching. Cm 19,80 x 25,50. E.A. 1/2. Edition and signature lower in pencil.BFK Rivers filigree lower right. Sheet size: 28x22,5 cm. Printer: Atelier Lacouriére-Félaut, Paris. Publisher: Le Soleil noir, Paris. Bibliografia: Eberhardt W. Kornfeld, Alberto Giacometti, Catalogue raisonné des estampes, Volume II, p.698/699, n.418 (Lust 183). Frame present
Los 6
Cretto nero A. 1971. Etching and aquatint. Cm 96,40 x 67,00. 54/90. Edition and signature at the bottom in pencil. Printer: 2RC, Rome; Bibliography: B. Corà "Alberto Burri. General Catalog. Graphic work 1949 - 1994" Città di Castello, Palazzo Albizzini Foundation Collection Burri, 2015, pp.78, 80, n.21b ill. coloured.
Los 106
Ethiopia.- Salt (Henry), After. The Vale of Calaat, etching and aquatint with hand-colouring by Havell, on thick wove paper without watermark, platemark 480 x 650 mm. (18 7/8 x 25 1/2 in), sheet 535 x 705 mm. (21 x 27 3/4 in), marginal repairs, surface dirt and finger-soiling, some minor damp-stains, unframed, 1809.
Los 227
Artist's proof, signed, dated and inscribed in pencil (in the margin), and inscribed 'For Denis and Jane, Terry, 1971', no edition, possibly only 6 proofs pulled, etching (Dimensions: 26cm x 21cm (10.25in x 8.25in))(26cm x 21cm (10.25in x 8.25in))Footnote: Provenance : From the Estate of an important St. Ives’s artist Note: ST. IVES Nestled along the coast of West Cornwall, St Ives is a fishing town that quickly became a centre for modern and abstract developments in British art. A cultural and artistic haven since the late 1800s, St Ives has been known to attract and enchant artists from across the world. In 1939, sculptor Dame Barbara Hepworth and then husband, artist Ben Nicholson, settled in St Ives and established a base for the abstract, avant-garde movement in Britain. With the end of World War II, a new generation of artists began to emerge, led by Hepworth and Nicholson. These artists had a shared interest in abstraction and a deep fascination with the coastal landscape of West Cornwall. Many used the shapes, forms, and colours of the fishing town as a source of inspiration in their work. This forward-thinking collective of artists, which included Peter Lanyon, Roger Hilton, W. Barns-Graham , and Patrick Heron, became known as the ‘St Ives School’. Denis Mitchell, an English abstract sculptor, was one of the artists who became an active member in this artistic community following WWII. From 1949-59, he acted as Hepworth’s assistant and personally worked on many of her sculptures. It was during this decade that Mitchell developed an interest in the purity of form and the manipulation of space. His sculptures, such as the gravity-defying Carn Galver II , 1968 (Lot 236) and the sleek Roseveor , 1985 (Lot 238), show a strong understanding of balance, line, movement and light. Mitchell’s works, although abstract in form, remain rooted in the landscape of St Ives. Working primarily in bronze and wood, he often hand carved his works and hand finished his bronzes. Mitchell placed great emphasis on texture and material in the design and execution of his sculptures. Other notable British abstract artists with strong involvement in the St Ives School were Sir Terence (Terry) Frost R.A. and Breon O’Casey. Terry Frost began his artistic career in his 30s, after befriending English painter Adrian Heath while in captivity at a Bavarian prison camp during WWII. Frost attended several different art schools upon his return to England and spent a year in St Ives, before holding his first solo show there in 1947. He continued to exhibit in St Ives over the years and settled there in 1951, working as an assistant to Barbara Hepworth. It was during this time that he developed and refined his distinctively vibrant, geometric abstract style, which typically involved colourful patterns of overlapping squares, rectangles and half-circles, as evident in his works Sun and Boat (Kemp 135), circa 1992-1996 (Lot 228), Timberaine E (Kemp 207e), 2000-01 (Lot 271) and The Island, 1950 (Lot 232). Breon O’Casey was another St Ives artist who worked with both Denis Mitchell and Barbara Hepworth, and found inspiration in the Cornish light, colour and landscape. O’Casey moved to St Ives in the 1950s and lived in Cornwall until his death in 2011. He began as an apprentice for Mitchell but quickly moved on to assist Hepworth, working part-time in her studio alongside Terry Frost. In 1962, O’Casey began experimenting with his own pictorial vocabulary of geometric form. Like Frost, he painted in a uniquely abstract manner, capturing the world around him through a series of circles, triangles and squares, like that in his oil painting Red Sun (Lot 237). The physical, cultural and social landscape of St Ives had a profound impact on these artists, and ultimately encouraged a new abstract, modern art movement in Britain. Lyon & Turnbull are honoured to offer this diverse range of artworks from the zenith of the St Ives School.
Los 2036
A pair of oils on miniature, signed Simms, indistinctly, depicting timber framed thatched cottages, gilt frames, three signed limited edition prints, by KW Burton, depicting Queens College, Cambridge, Kings Parade, Cambridge and Bridge of Sighs, Cambridge together with a 19th Century etching depicting stone, all mounted and framed (6)
Los 11
δ Stanley William Hayter (1901-1988)Sorcier (Black & Moorehead 209)Engraving, drypoint, soft-ground etching and scorper printed in black, 1953, signed, dated and numbered from the edition of 5, an artist's proof aside from the edition of 50, on Lauriat paper, with full margins, sheet 720 x 570mm (25 1/8 x 22 3/8in) (unframed)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Los 37
NO RESERVE δ Salvador Dali (1904-1989)The Sick Stag (from La Fontaine's Bestiary Dalinized) (Field 74-1-F; M&L 659)Etching with pochoir in colours, 1974, signed and numbered from the edition of 120 in pencil in roman numerals, on Richard de Bas paper, printed by Ateliers Rigal, published by Mouret, Paris, with full margins, sheet 785 x 590mm (31 x 23 1/4in) (unframed)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Los 40
δ Salvador Dali (1904-1989)Freud with a Snail Head (Field 74-8G; M&L 672d)Etching with extensive handcolouring, 1974, signed, inscribed 'F' and numbered in Roman numerals for the edition of 35 in pencil, on Japan nacré paper, with the Dali blindstamp, printed by Ateliers Rigal, published by Trans World Art, with their inkstamp and the copyright stamp of the artists verso, sheet 652 x 500mm (25 5/8 x 19 3/4in) (unframed)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Los 42
δ Salvador Dali (1904-1989)Portrait of La Fontaine (from La Fontaine's Bestiary Dalinized) (Field 74-1-A; M&L 653)Etching with drypoint, 1974, signed and numbered from the edition of 120 in pencil in roman numerals, on Richard de Bas paper, printed by Ateliers Rigal, published by Mouret, Paris, with full margins, sheet 785 x 590mm (31 x 23 1/4in) (unframed)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Los 81
δ Hans Bellmer (1902-1975)A plate, from Alain Jouffroy, Les Anagrammes du Corps Etching, 1973, signed and numbered from the edition of 100 in pencil, on Arches paper, published by Editions George Visat, Paris, sheet 500 x 374mm (19 5/8 x 14 3/4in) (framed)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Los 762
After Anthony E Howard black & white etching 'Richmond Yorkshire 1922' signed in pencil on mount 25 x 35 cm framed & glazed & After Kenneth Steel black & white etching 'Elvet Bridge Durham' signed in pencil on mount 20 x 22 cm framed & glazed & Pair of mahogany rectangular toilet mirrors 60cm w X 2
Los 504
‡RICHARD BAWDEN RWS NEAC RE (b.1936)'Dead Oaks'etching in colours,signed, inscribed in pencil as title, and numbered 2/75 in lower marginPl. 19 x 15 1/4 inThe artist was the son of Edward Bawden. He initially studied at Chelsea and St. Martin's School of Art. Later he became a student at the Royal College of Art. His versatile output has also included murals, mosaics, stained glass windows and posters, most notably for the London Underground. His work is in a number of public collections including the Victoria and Albert Museum, The Tate Gallery and London Transport. David Buckman noted that 'Bawden's work combined excellent draughtmanship, a true sense of colour and an eye for the unusual'.
Los 501
‡SIR FRANK BRANGWYN RA RWS RBA (1867-1956)Breaking up the 'Hannibal'original etching, pencil signedPl. 19 1/2 x 24 1/2 in From the only edition of 70 signed proofsLiterature: Gaunt 36This is one of Brangwyn's earliest large scale etchings. Etched on zinc after a preparatory sketch. HMS Hannibal a wooden screw-ship of the line was built in 1854, powered by 450 horse-power engines. The scene shows the massive hulk of the old wooden Hannibal lying in Castle's breaking-yard at Charlton, Woolwich The artist and writer Walter Shaw Sparrow wrote in 1919 of Brangwyn's depiction of 'Hannibal' comparing it to Turner's Fighting Temeraire, noting however that the 'Hannibal was brought too close to my eyes, occupying so much of a large plate that I cannot see her poetry because I see much of her bulk'. By contrast the Temeraire was 'surrounded by a great seascape and visiting sunset'...As a big study full of apt concentration, Brangwyn's 'Hannibal' is very good; but yet...it seems to me that he ought to have achieved more because his emotion was all of a piece with Turner's'
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78472 Los(e)/Seite