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Preisdatenbank abonnierenEric WARD (1945) Two Works Life Study, oil on paper, signed, 26.5cm x 30cm, 45.5cm x 47.5cm framed; together with Eric WARD (1945) - The Jazz Trio - Etching, numbered 6/50, signed, titled and numbered, image size 17.5cm x 15cm, 37cm x 29cm framed. Shipping is available from £32.50 to a UK Mainland address.
Jennifer Joan DICKSON (1936) A Portfolio of Works Including Descente - Etching, signed, titled and dated, 44.5cm x 24.5cm; Secret Water Games, Villa Garsoni, personalised print, signed and titled, 30cm x 24cm; Gilded Entrapment, Melbourne Hall, limited edition print, 10/30, signed and titled, 40.5cm x 56cm; and other works. Shipping is available from £32.50 to a UK Mainland address.
Geoffrey Sneyd GARNIER (1889-c.1971) The Old Fish Market, Newlyn Etching, signed, numbered 3/100. Artist's exhibition label to verso 'Geoffrey S. Garnier - Orchard Cottage, Newlyn West, Penzance', 18.5cm x 24.5cm, 34cm x 38cm framed. Together with a Claude Rowbotham etching of St Michael's Mount.Foxing to the margin of the Sneyd Garnier, but doesn't impact the etching itself.
Sheila OLINER (1930-2020) Three Etchings Dance With The Stars Fall Down, signed titled and numbered 2/30 blind-stamped, 30cm x 20cm; an artist's proof of a vase of flowers, signed, 20cm x 30cm; Danced With Fabric, drypoint etching artist's proof II/II, signed, titled, numbered and blind-stamped, 29.5cm x 27.5cm (3) Shipping is available from £25.22 to a UK Mainland address.
'Femme en Automobile', after Manuel Robbe (1872-1936), circa 1902,signed in pencil, monochrome etching on paper, 50 x 40cm, mounted, framed and glazed. Lot to be sold without reserve.This lot is subject to the following lot symbols: †† VAT at the prevailing rate on Hammer Price and Buyer's Premium.For further information on this lot please visit Bonhams.com
Snooker / Billiards Interest - Three framed prints, the first depicting a late 20th century match between John Roberts Jr and Edward Diggle, the second titled Ordinary Position and a coloured etching entitled Difficult Moments, all mounted and framed under glass, largest approximately 37 cm x 50 cm image size. [3]. [W]
CRAIGIE AITCHISON C.B.E., R.A.., R.S.A. (SCOTTISH 1926-2009) PINK CRUCIFIXION, 2004 signed in pen (lower right) and dedicated For Tom (lower left), etching, aquatint and carborundum, with hand colouring, on wove paper, a proof aside from the edition of 50 76cm x 65cm (29 7/8in x 25 ½in) Gift of the Artist to the present owner
HENRI MATISSE (FRENCH 1869-1954) NU DRAPÉ SUR FOND COMPOSÉ DE CERCLES, 1931 (D.224) signed and numbered 16/25 in pencil in the margin (lower right), etching on Chine appliqué paper plate: 11.7cm x 8.7cm (4 5/8in x 3 3/8in) Sotheby's, London, Old Master, 19th and 20th Century and Contemporary Prints, 12 December 1991, lot 419;Private Collection, U.K.
Mary Toft.- Anonymous (1720s) The Doctors in Labour; or a New Whim Wham from Guildford, twelve scenes relating to the affair of Mary Toft, "the rabbit breeder", etching on wove paper without watermark, sheet 350 x 260 mm (13 3/4 x 10 1/4 in), trimmed within the platemark, unframed, 1726 [but a later 19th century impression]Literature:BM Satires 1781*** A large and extraordinary print about one of the most notorious and amusing frauds of the early 18th century. Mary Toft was a poor illiterate Surrey woman, and "On 23 April, 1726, she declared that she had been frightened by a rabbit while at work in the fields, and this so reacted upon her reproductive system that she was delivered in November of that year first of the lights and guts of a pig and afterwards a rabbit, or rather a litter of rabbits" [DNB]. In time the miracle was exposed as an elementary piece of deception, but not before it gave rise to a torrent of pamphlets (including a poem by Pope, see Foxon D238) and several prints, including one by Hogarth. The present sheet is an excellent example of what was for the period a rather new departure in social commentary, as artists, especially the young Hogarth, expanded the range of graphic satire to include various aspects of daily life, and laid the foundations for the work of such later figures as Gillray, Rowlandson, and Cruikshank.
(i) EMIOVBO BEROMA; (ii) ERHU IVIE (RED BASE); (iii) IFIEDO I (B/W)each signed, titled, inscribed and dated Lagos (i) 12/40 Sept 1983; (ii) 29/30 April 1981; (iii) 3/20 Feb 1989; Deep Etching lower marginetchings on deckled paper, two printed in colours and one monochrome(i) 67.5 x 23cm; 26 1/2 x 9in86.5 x 37cm; 34 x 14 1/2in (mount)(ii) & (iii) 49.5 x 68cm;19 1/2 x 26 3/4in62 x 81cm; 24 1/2 x 31 3/4in (mount)all unframed(3)Property from a Private Collection, LondonQty: 3
Nicolette Savage Etching "Pigwig", signed in pencil lower right and numbered 45/150, 10cm x 13cm P Thomas Black and white print "Cyclist, County Clare", signed in pencil and numbered 7/75 After Modigliani Colour print Female nude After Maud Earl Pair of colour prints "The Long Vacation", foxhounds and gun dog and duck (5) From the collection of the late Maurice Costley
Giovanni Battista Piranesi 1720 - 1778"The Roman Colosseum" Circa 1766A framed 18th century Etching of the interior .Entitled " Veduta dell'Interno dell'Anfiteatro flavio detto il Colosseo"(View of the interior of the flavian Amphitheatre known as the Colosseum)Etching Signed "Cavr Piranesi Fece" within the plate. Lower RightFramed and glazed. 73.5cm x 98cm with frame.
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