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Los 165
signed, numbered 3/30 and inscribed with the title in pencil in the margin engraving, soft- and dryground etching PROVENANCE The Edwine Simon Print Collection sheet size: 22 by 12cmEDWINE SIMON: A PRINTMAKERS JOURNEY A printmaker’s journey is a long and constantly challenging one in content, printing skills and technique. A printmaker should be able to print their own work, but collaboration with a master printmaker is recommended in order to push the boundaries in size, technique and content. My career began at the Michaelis School of Fine Art at the University of Cape Town under Eleanor Esmonde–White who taught design; Katrine Harries, technical virtuosity and skills of the traditional German school of etching and lithography; and May Hillhouse, colour. Oil painting and sculpture were the only two major degree subjects at the University at the time. Printmaking was the “Cinderella” until Kevin Atkinson and I broke that tradition and opened the doors for the following generations of students, enabling them to obtain a degree majoring in printmaking. We pushed the boundaries to the dismay of our lecturer. Kevin went on to study under Jennifer Dickson in Brighton England and Atelier 17 in Paris under Stanley Hayter. I went to The Institute of Education, University of London and part-time evening classes in etching at the Central School of Arts and Crafts in London under Peter Nel and Leonard Marchant. Back in Cape Town, Atkinson and I worked together teaching at The Cape Town Art Centre producing monotypes and work in acrylics. I went on to teach at the Ruth Prowse School of Art and thereafter worked with Jonathan Comerford, an ex-student of mine, who had just returned from Peacock Printmakers in Scotland. A collaborative printmaking studio, Hardground Printmakers in Roodehek Street, Cape Town, was established to provide professional printmaking facilities for the independent artist. A diverse array of artists would come to work there, both local and international, producing a wide range of printmaking. At Hardground, I produced large shaped etchings, collographs, blind embossing, viscosity etchings, silkscreens, linocuts and mixed media prints. This was made possible by Jonathan Comerford’s master printmaking expertise, as well as his wide arm span! He was able to lift soaked handmade paper, without it tearing, onto the surface of the plate and printing press. These collaborations show the complex process of printmaking and demonstrate the richness and diversity of the craft, whether it is a single print or a portfolio of exciting works. Lecturing at the Cape Peninsula University of Technology before retirement, I was able to draw upon my art experience from my collaborations with the above artists, educators and printmakers, by passing on technical knowledge to the students and other young creatives. - Edwine Simon Edwine Simon has held 11 solo exhibitions, participated in numerous group exhibitions and is represented in public and private collections in South Africa and overseas. Chilvers, I., Dictionary of Art & Artists, Kent, George Books, 2005 Craig, A., Arts & Entertainment Guide for Business South Africa Vol. 1, Cape Town, Living Art Productions, 1999/2000 Hobbs, P., Printmaking in a transforming South Africa, Cape Town, David Philip, 1997 Ogilvie, G., The Dictionary of South African Painters and Sculptors including Namibia, Johannesburg, Everard Read, 1988 Tappenden, C., Foundation Course Graphic Design, Great Britain, Octopus, 2004 History of Hard Ground Printmakers, www.hardgroundprintmakers.com/view.asp?ItemID=2&tname=tblComponent3&oname=About&pg=about [Online] Accessed 21 August 2018
Los 166
signed and editioned 21/30 aquatint and softground etching PROVENANCE The Edwine Simon Print Collection sheet size: 19 by 14cmEDWINE SIMON: A PRINTMAKERS JOURNEY A printmaker’s journey is a long and constantly challenging one in content, printing skills and technique. A printmaker should be able to print their own work, but collaboration with a master printmaker is recommended in order to push the boundaries in size, technique and content. My career began at the Michaelis School of Fine Art at the University of Cape Town under Eleanor Esmonde–White who taught design; Katrine Harries, technical virtuosity and skills of the traditional German school of etching and lithography; and May Hillhouse, colour. Oil painting and sculpture were the only two major degree subjects at the University at the time. Printmaking was the “Cinderella” until Kevin Atkinson and I broke that tradition and opened the doors for the following generations of students, enabling them to obtain a degree majoring in printmaking. We pushed the boundaries to the dismay of our lecturer. Kevin went on to study under Jennifer Dickson in Brighton England and Atelier 17 in Paris under Stanley Hayter. I went to The Institute of Education, University of London and part-time evening classes in etching at the Central School of Arts and Crafts in London under Peter Nel and Leonard Marchant. Back in Cape Town, Atkinson and I worked together teaching at The Cape Town Art Centre producing monotypes and work in acrylics. I went on to teach at the Ruth Prowse School of Art and thereafter worked with Jonathan Comerford, an ex-student of mine, who had just returned from Peacock Printmakers in Scotland. A collaborative printmaking studio, Hardground Printmakers in Roodehek Street, Cape Town, was established to provide professional printmaking facilities for the independent artist. A diverse array of artists would come to work there, both local and international, producing a wide range of printmaking. At Hardground, I produced large shaped etchings, collographs, blind embossing, viscosity etchings, silkscreens, linocuts and mixed media prints. This was made possible by Jonathan Comerford’s master printmaking expertise, as well as his wide arm span! He was able to lift soaked handmade paper, without it tearing, onto the surface of the plate and printing press. These collaborations show the complex process of printmaking and demonstrate the richness and diversity of the craft, whether it is a single print or a portfolio of exciting works. Lecturing at the Cape Peninsula University of Technology before retirement, I was able to draw upon my art experience from my collaborations with the above artists, educators and printmakers, by passing on technical knowledge to the students and other young creatives. - Edwine Simon Edwine Simon has held 11 solo exhibitions, participated in numerous group exhibitions and is represented in public and private collections in South Africa and overseas. Chilvers, I., Dictionary of Art & Artists, Kent, George Books, 2005 Craig, A., Arts & Entertainment Guide for Business South Africa Vol. 1, Cape Town, Living Art Productions, 1999/2000 Hobbs, P., Printmaking in a transforming South Africa, Cape Town, David Philip, 1997 Ogilvie, G., The Dictionary of South African Painters and Sculptors including Namibia, Johannesburg, Everard Read, 1988 Tappenden, C., Foundation Course Graphic Design, Great Britain, Octopus, 2004 History of Hard Ground Printmakers, www.hardgroundprintmakers.com/view.asp?ItemID=2&tname=tblComponent3&oname=About&pg=about [Online] Accessed 21 August 2018
Los 292
Francisco Goya (Spanish 1746-1828) MODO CON QUE LOS ANTIGUOS ESPANOLES CAZABAN LOS TOROS Á CABALLO EN EL CAMPO impressed with La Tauromaquia chopmark etching, aquatint, drypoint and engraving, pulled in 1921 from the 5th edition Deteil,L., Francisco Goya: Le Peintre graveur illustré, Collectors Editions, New York, 1968. illustrated on page 224, catalogue number 56 Harris,T., Goya:Engravings & Lithographs, B.Cassier, Oxford 1964, illustrated on page 204, catalogue number 36 sheet size: 34 by 44,5cm
Los 90a
John Costigan (New York, Rhode Island, 1888 - 1972) "Bathers" Etching. Pencil signed and titled in lower margin. Image size: 9 x 12 inches. Costigan studied briefly at the Art Students League and worked as a lithographer of theater posters. From that job he learned the printing processes that he later used in his many etchings. He began making his name in the fine arts in 1920, and throughout the decade, reaped numerous important prizes for his oils, watercolors and prints.
Los 54
A Queen Victoria era 1827 Pattern Royal Naval Officer’s sword & scabbard. Polished gilt lion’s head pommel, with mane backstrap, ray skin grip with wire wrap and gilt brass guard, showing the fouled anchor & crown, with folding/locking langet. 84cm slightly curved nickel blade, shows etching to both sides of fouled anchors, royal crown etc, in good condition, with the usual pitting wear, maker marked for A Moses of Portsea. Leather scabbard shows twin brass lockets with twin suspension rings, lacking locking pin for locket, with light service wear to fully stitched leather body. Looks to be 1870’s era piece. Overall length: 99cm.
Los 55
A WW1 George V era 1827 Pattern Royal Naval Officer’s sword, scabbard & belt/hangers belonging to Rear Admiral Charles Farquhar-Smith, who was the senior naval officer in charge of Western Australia during the tragic loss of all hands aboard H.M.A.S. Sydney II in 1941 and was ultimately blamed for his failure to alert higher command of the disappearance of the ship. Gilt lion’s head pommel, with mane backstrap, ray skin grip with wire wrap and gilt brass guard, showing the fouled anchor & crown, with folding/locking langet. Full bullion knot is attached. 80cm long, straight nickel blade, shows etching to both sides of fouled anchors, royal crown etc, being in mint condition, numbered to spine 04565. Leather scabbard shows twin brass lockets with hand engraved panels, twin suspension rings, coming with full leather belt, by Gieves of London, hanger straps & gilt belt buckle. Overall a near mint example, being 96 cm in length, Not named, but came from the vendor with his named bicorne cap & insignia ex Gregson’s. *See lot 324 for Farquhar-Smith’s cap & insignia lot & biography.
Los 56
WW1 era George v era 1912 pattern Cavalry officer’s sword & scabbard. Good dark fish skin wire bound grip, with nickel guard/bowl showing correct swirling pattern engraving. 87cm long blade. Good etching to both sides of the blade, showing light surface wear & age patina, with rounded edge tip. Blade fits well into the leather scabbard. Overall length: 108cm. International buyers to organise own shipping.
Los 1033
Rafiee Abdul Ghani (Malaysian, b.1962). Coloured etching of an abstract, coastal landscape; with pencil signature at bottom right and inscribed 'AP II', titled: 'Remembered Landscape'; margins apparently uncut; overall dimensions 55 x 37cm; the reverse of the picture stating: Rafiee Abdul Ghani/Age 22/Address: Fine Arts Department School of Art and Design/Mara Institute of Technology/Shah Alam/Selangor/Malaysia. Provenance: The Property of a Lady. Given to the vendor's family by the organiser of a Winchester, global art Competition held in about 1984. Rafiee Ghani studied at the Mara Institute of Technology, circa 1981-85. His more contemporary work, generally oil on canvas, appears regularly at auction. See for instance, Klos Art Auction/Malaysian Modern and Contemporary Art/15-1-2017 Lot 1 where the catalogue entry states that Ghani is 'one of Malaysia's most prominent fine artists'. Compare also Sotheby's Hong Kong 'Modern and Contemporary South East Asian Art'/3-4-2017 Lot 216 for Ghani's 'The Beginning of the Red Sea'. . Overall condition good no damage found . Overall condition good no damage found
Los 1134
§ Henry Moore (British, 1898-1986). Leopard Etching, signed in pencil, plate V, numbered 65/65, plate size, 24.9 x 19.5cm. Please note that Artists Resale Right maybe additionally payable on this lot up to a maximum of 4% on top of the hammer price (visit www.dacs.org.uk for more information). . § Overall condition good no dame found has not been out of the frame . § Overall condition good no dame found has not been out of the frame
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78472 Los(e)/Seite