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Preisdatenbank abonnierenWILLIAM LIONEL WYLLIE RA, RE, RI, RBA, NEA (BRITISH 1851-1931) THE MEDITERRANEAN SET Drypoint etching, signed, 16.5 x 38cm (6 1/2 x 15") (6) Condition Report: There are three from the set of etchings that have one small foxing mark all located in the area of the sky and one of the etchings with one small foxing mark located in the lower margin. All of the etchings have varying degrees of yellowy brown discolouration around the margins.
ARTHUR JOHN TREVOR BRISCOE RE, RI (BRITISH 1873-1943) AT THE TILLER; SCULLING Drypoint etching, signed and numbered 29/75 and 73/75 respectively, 21.5 x 35.5cm (8 1/2 x 14 1/2"), 25.5 x 20cm (10 x 7 7/8") (2) Taylor & Brown label verso ('At The Tiller') Condition Report:AT THE TILLER:. The plate and margins bearing the appearance of slight discolouration overall and there is a hole through the signature 'Briscoe' and a slight foxing mark in the margin top left and foxing discolouration in a horizontal line, approximately 4 centimetres in length, in the top margin left of middle. . SCULLING:. The plate and margins bearing the appearance of slight discolouration overall and to a greater degree in the margins at the edges of the mount. There is one foxing mark noticeable in the upper left margin and around 5 to 6 tiny spots of foxing located within the top right hand quarter section. . .
•ELYSE ASHE LORD RI (BRITISH 1900-1971) READING; BIRD AND PRUNAS; GENTIANS; LEOPARD LILIES Drypoint etching and coloured woodcut, signed and numbered 75/75, 55/75, 73/75 and 73/75 respectively, 28 x 25cm (11 x 9 3/4"), 31 x 30cm (12 1/4 x 11 3/4"), 25.5 x 20cm (10 x 8"), 25.5 x 20cm (10 x 8") (4) Inscribed with titles on labels verso Condition Report: There are a few small areas of foxing noticeable in the top and right hand margins of 'Leopard Lilies' but on the whole the four etching and coloured woodcuts are in fair to good condition.
WILLIAM LIONEL WYLLIE RA, RE, RBA, RI, NEA (BRITISH 1851-1931) HMS VICTORY IN PORTSMOUTH HARBOUR; FISHING BOATS AT LOW TIDE Drypoint etching, signed, 21 x 49cm (8 1/4 x 19 1/4") (2) Condition Report: Both etchings have two or three tiny spec marks, possibly foxing, in the area of the sky but overall they are in good condition with no significant issues.
•JAMES MCBEY LLD (1883-1959) VOLENDAM AUG. 1910 Drypoint etching, signed and numbered V, 18 x 11.5cm (7 x 4 1/2") NIGHT IN ELY CATHEDRAL Drypoint etching, signed, 29 x 20cm (11 1/2 x 8") (2) Condition Report: VOLENDAM AUG. 1910:. There is light foxing evident around the margins, being slightly heavier and more noticeable in the upper section of the right hand margin. On close inspection there is very light foxing apparent in the lower right hand quarter section. . NIGHT IN ELY CATHEDRAL:. The etching appears to be in good condition with no significant issues to report.
Netherlands.- Walcheren Campaign.- Luffman (Attributed to John) Map of the Island of Walcheren with the Fortifications &c., etching on wove paper without watermark, a delicate impression, sheet 285 x 230 mm. (11 1/4 x 9 in), minor surface dirt, slight browning and small nicks to edges, published by J. Stratford, 1810.⁂ Map showing the scene of the disastrous British expedition of 1809, where over 8,000 troops suffered from malaria infection.
§ John Brunsdon, ARCA (British, 1933-2014) Reflections signed 'John Brunsdon' in pencil (lower right); titled and numbered 5/100 coloured etching 74 x 54cm (29 x 21in) Water damage and subsequent staining to the bottom plate margin, which extends into the printed image. This has also caused the rippling of the paper.
§ Dame Elisabeth Frink, CH, DBE, RA (British, 1930-1993) The Canterbury Tales II - 'The Pardoner's Tale' signed 'Frink' in pencil (lower right); titled and numbered 47/50 etching and aquatint 41 x 47cm (16 x 18in) Provenance: The Waddington Gallery, London, 1972 Small marks to the right-hand figure.
§ Valerie Thornton, RE (British, 1931-1991) Arles signed and dated in pencil 'Valerie Thornton 75' (lower right); titled and numbered 15/70 etching and aquatint 63 x 43cm (25 x 17in); Cley Hall Farm; signed and dated in pencil 'Valerie Thornton 77' (lower right); titled and numbered 4/70 etching and aquatint 50 x 67cm (19.5 x 26.5in)(2) Cley Hall Farm - There are small marks to the right top corner and along edge of the plate margin. Slight water damage evident to the bottom left corner.Arles - Staining to the top plate margin. There is also some additional water damage to the bottom plate margin, which extends approx. 2 inches.
§ Sylvia Gosse, RBA, RE, SWA (British, 1881-1968) Red Lion Square signed 'Gosse' (lower left) oil on canvas 44 x 34cm (17 x 13in) Following in the footsteps of both her mother and aunt, the latter of whom was married to the renowned painter Lawrence Alma-Tadema (1836-1912), Gosse studied at the St John's School of Art and later at the Royal Academy Schools. In 1908, Gosse met the artist Walter Sickert (1860-1942) who was particularly impressed with her artistic talent and potential. She enrolled in the artist's evening classes at Westminster School in 1909, and later in Sickert's new art school. Sickert's stylistic influence remains evident in Gosse's impasto technique, as well as in her continued portrayal of both street scenes and domestic interiors. Gosse eventually took over the running of the 'Sickert and Gosse School of Painting and Etching', taught students, and according to the art historian Wendy Baron, influenced Sickert's later work. Gosse exhibited extensively from 1911 at the New England Art Club, the Royal Academy and the Carfax Gallery. An extensive number of her works can now be found in major public collections including the Tate, the British Museum, and the Ashmolean Museum, Oxford.Oil on a coarse weave canvas support. There is an artists' suppliers stamp on the reverse which is difficult to decipher. The canvas has good tension and is in plane. There is minor abrasion to the paint layer at the upper left corner, otherwise the paint layer is in a good condition. The painting has a varnish layer which has yellowed with age but is glossy and even. There is a light layer of surface dirt present.
§ John Brunsdon, ARCA (British, 1933-2014) North Norfolk - John D Hammer Arriving at Weybourne Station signed 'John Brunsdon' in pencil (lower right); titled and numbered 16/35 coloured etching 54 x 67.50cm (21 x 26in) Water damage and significant staining to the plate margin in the bottom left corner. Slight discolouration to the plate margin consistent with age. Indentation to the bottom plate margin reading: 'John Brunsdon'.
§ Julian Trevelyan, RA (British, 1910-1988) Oxen signed and dated 'Trevelyan 54' (lower right) oil on canvas 49 x 59cm (19 x 23in) Other Notes: Julian wrote in November 1955: 'My Oxen was the final picture of a series of paintings I made in Italy and in my studio in 1954 following a holiday staying with friends in a villa in the country near Siena. I made many drawings of oxen ploughing, hauling and being shod... I have also made an etching of more or less the same composition'. (Although the exact source of this letter has not been traced, it has been suggested that it was written by Trevelyan when the Tate Gallery acquired their painting in 1955). Trevelyan produced many variations on the theme of oxen and five artworks were included in an exhibition at the Zwemmer Gallery, London, October-November 1955, where he exhibited with Kathleen Allen. A similar painting, 'Oxen' (1955) is in the Tate, London and a smaller version, 'Oxen Pulling a Cart', was sold in these rooms, November 26 2009, lot 54 and realised £2000 (including BP). We are grateful to Philip Trevelyan for his kind assistance with this catalogue entry.Slightly loose canvas and small scratch the horn of the right ox.
§ Norman Ackroyd, CBE, RA (British, b.1938) Landscape with Grey Sky signed and dated 'Norman Ackroyd 1975' in pencil (lower right); titled and numbered 72/100 aquatint and etching printed in colours 57 x 53.50cm (22 x 21in) Provenance: Gorner & Millard Gallery, London, 1985 There are minor scratches to the left plate margin, and a small spatter to the bottom plate margin.
§ George Chapman (British, 1908-1993) Playing in the Street signed 'George Chapman' in pencil (lower right) etching 54 x 82.50cm (21 x 32in) Provenance: Whitechapel Gallery, London, 'Pictures For Schools', 1960 Slight yellowing of the plate margin consistent with age. There are also additional scuffs down the left hand side.
§ John Brunsdon, ARCA (British, 1933-2014) Studio Interior signed and dated 'John R Brunsdon 1961' in pencil (lower right); titled coloured etching 47 x 60cm (18 x 23in) The paper is slightly creased towards the top plate margin. There is additional discolouration of the paper consistent with age.
§ Anthony Gross, CBE, RA (British, 1905-1984) 'Le Boulve', Tobacco Harvesters signed 'Anty Gross' in pencil (lower right); titled; edition of 50 etching 28 x 41cm (11 x 16in) Provenance: Whitechapel Gallery, London, 'Pictures For Schools', 1960 Some yellowing of the page consistent with age. There is also a small indentation to the left plate margin and a faint mark in the sky.
§ Valerie Thornton, RE (British, 1931-1991) The Bodleian Library, Oxford signed 'Valerie Thornton' in pencil (lower right); numbered 40/40 etching and aquatint 38 x 54cm (15 x 21in) Provenance: Whitechapel Gallery, London, 'Pictures For Schools', 1962 There are areas of discolouration to the bottom plate margin, as well as ever so slight discolouration to the remaining edges consistent with age.
§ Valerie Thornton, RE (British, 1931-1991) The Prior's Door, Ely signed and dated 'Valerie Thornton 73' (lower right); titled and numbered 20/75 etching and aquatint 55 x 78cm (21 x 30in) Small creases to the plate margin and around the artist's signature. The inscription 'Handmade in England' is also evident along the top plate margin, which shows through from the reverse side.
§ Richard Bawden, RWS, NEAC, RE (British, b.1936) Birdwatcher 1 signed 'Richard Bawden' in pencil (lower right); titled and numbered 62/75 etching and aquatint 61 x 48cm (24 x 19in) Provenance: The National Museum of Wales, 1980 Water damage from the top extending just over ½ way down the print. There are also small marks to right and left of the signature inside the plate margin.
§ Charles Frederick Tunnicliffe, OBE, RA (British, 1901-1979) Goshawk signed 'C F Tunnicliffe' in pencil (lower right); numbered 3/50 etching 35 x 15 x 5cm (14 x 6 x 2in) Yellowing of the paper along the margin consistent with age. Rippling to the right-hand side edge with subsequent small creases.
§ Eduard Wiiralt (Estonian, 1898-1954) Lamav Tiger (Reclining Tiger), 1937 signed 'G. Wiiralt' in pencil (lower right) etching 28.50 x 39cm (11 x 15in) Slight discolouration along the right edge. Approx' 2inch area of browning to the right hand side which is hidden by the mount. There is also a small water splatter to one of the tiger's ears. It is signed but is covered by the mount
•MARY FEDDEN (1915-2012) 'Italian Landscape' with foliage to the foreground and two houses beyond, signed lower right, watercolour, 43cm x 29cm This work was executed on the other side of a sheet of paper discarded by the artist's husband Julian Trevelyan (1910-1988), it shows the central section of Trevelyan's etching 'Bolton' Condition Report: Work appears to be in good condition with no obvious signs of damage or restoration
•DAME ELISABETH FRINK (1930-1993), 'Anthony and Cleopatra', 1982, signed and numbered 137/175 in pencil to the margin, etching and aquatint, the image 77cm x 56cm Provenance: Acquired from the Goldmark Gallery The work depicts Helen Mirren and Michael Gambon in the RSC production. Condition Report: Work appears to be in good condition with no obvious signs of damage or restoration
•JOHN BRUNSDON (1933-2014) 'Charmouth' signed, titled and numbered 59/150 in pencil to the margin, limited edition etching and aquatint, the image 45cm x 60cm Condition Report: a small number of foxing spots to the lower margin, otherwise appears to be in good condition with no obvious signs of damage or restoration
•JOHN BRUNSDON (1933-2014) 'Two Bridges: Dartmoor' signed, titled and numbered 27/150 in pencil to the margin, limited edition etching and aquatint, the image 44cm x 60cm Condition Report: a number of foxing spots to the lower margin, otherwise appears to be in good condition with no obvious signs of damage or restoration
A Framed Etching After The Painting 'The Antiquary' By Walter Dendy Sadler Etched By James Dobie Monochrome etching, published by L.H. Lefevre & Sons, 1916, printed by J Brooker & Co. Pencil signed by artist and engraver to lower margin, publishers blinstamp to lower left. Framed and mounted under glass, 11 x 17 inches
Winifred Austen (British, 1876-1964) Snipe amongst the reeds, etching 15cm x 20cm and Cedric Hodgson The Prophet of a Spaniel 15cm x 12cm . Spaniel: Foxing/staining throughout, no other major faults found.Snipe: lines on the image are cracks in the glass. Overall staining throughout. No other faults found.
NICOLAS IV DE LARMESSIN (1684-1755) AFTER NICOLAS LANCRET LE PETIT CHEIN QUI SECOUE DE L'ARGENT ET DES PIERRERIES from the Suites d'Estampes Nouvelles pour les Contes de la Fontaine, c1740, engraving with etching , mounted to within platemark, 27 x 34cm and seven other similar, contemporary French 18th c engravings, in modern washline mounts and frames, as a set (8)Provenance: The Earl of Jersey.++One or two with slight marks or time stains but all in presentable condition, unexamined out of frame
Leonard Griffith Brammer (1906-1994), The Sytch, Burslem, signed in pencil, inscribed with title, etching, 15 x 21cm (PL) Notes: Sytch or Sitch as it was sometimes spelt was an area North West of the centre of Burslem. It was described by Paul Johnson in 'The Vanished Landscape', a 1930's Childhood in the Potteries, as follows: "The Sytch was the dark heart of the potteries, an immense stretch of ground composed in almost equal parts of bare clay earth, black water, mud, industrial detritus both active and abandoned, and fumigerous furnaces, belching forth fire, ashes and smoke."
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