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78472 Los(e)/Seite
Los 189
JOHN BRUNSDON ARCA (1933-2014); a signed limited edition artist's proof etching 'Gardale Scar', signed, titled and numbered 12/15, 44.5 x 58.5cm, framed and glazed. (D) CONDITION REPORT: This lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk
Los 191
JOHN BRUNSDON ARCA (1933-2014); a signed limited edition coloured etching 'Wilby Church, Suffolk', signed, titled and numbered 16/150, 44.5 x 60cm, framed and glazed. (D) CONDITION REPORT: This lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk
Los 353
GRAHAM SUTHERLAND for Stuart; a large clear glass bowl decorated with textured cut swirls, stencil etched to base, diameter 36cm. CONDITION REPORT: Generally good, but with numerous very tiny nibbles along the edges of etching lines to underneath, areas of scratching and general minor surface wear. 'Designed by Graham Sutherland' to underside.
Los 480
GEORGES BRAQUE (French, 1882-1963); a black and white etching, 'Eros and Eurybia' (from Hesiod's Theogony), bearing authentication label from the Collector's Guild, New York, verso, 36 x 29cm, framed and glazed. (D) CONDITION REPORT: This lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk
Los 490
JAMES JACQUES JOSEPH TISSOT (French, 1836-1902); a black and white etching, a study of woman wearing a hat with blind stamp lower left, 25 x 16cm, framed and glazed. CONDITION REPORT: Badly brown stained throughout with areas of foxing particularly in the lower half of the portion and the margin.
Los 503
LEO KUNDAS (Russian, born 1953); a signed black and white etching 'The White Angel in Central Park', dated '07 and inscribed and signed to mount, 20 x 25cm, framed and glazed. (D) CONDITION REPORT: This lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk
Los 517
DAVID HOCKNEY (British, born 1937); etching with aquatint, 'Figures with Still Life' (SAC 208), signed and numbered 97/200 on woven paper, circa 1976-77 as included in the portfolio 'The Blue Guitar' published by the Petersburg Press, London and New York, 16.5 x 13.5cm, framed and glazed. (D) CONDITION REPORT: This lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk
Los 524
HENRY SPENCER MOORE OM CH FBA (British, 1898-1986); a signed etching, study of three faces, 12/75, 10.5 x 15.5cm, framed and glazed. (D) CONDITION REPORT: This lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk - Image appears to be in good order.
Los 525
HENRY SPENCER MOORE OM CH FBA (British, 1898-1986); a signed limited edition coloured etching 'Sculptural Ideas Portfolio #3', 37/50, image 21.75 x 23.75cm, mounted but unframed. (D)Purchased from the Van Straaten Gallery, Chicago, Illinois. CONDITION REPORT: This lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk - Signed in pencil, paper is rippled, dirt and foxing throughout.
Los 527
JOHN BRUNSDON ARCA (British, 1933-2014); a signed limited edition coloured etching 'Summer Grey', signed in pencil lower right, titled lower left, 95/100, 45.5 x 60cm, framed and glazed. (D) CONDITION REPORT: This lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk
Los 528
JOHN BRUNSDON ARCA (British, 1933-2014); a signed limited edition coloured etching, 'Edale', signed in pencil lower right, titled lower left, 126/350, 35 x 60cm, framed and glazed. (D) CONDITION REPORT: This lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk
Los 529
JOHN BRUNSDON ARCA (British, 1933-2014); a signed limited edition coloured etching, 'Hillside Farm', signed in pencil lower right, titled lower left, 96/150, 60 x 45cm, framed and glazed. (D) CONDITION REPORT: This lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk
Los 530
JOHN BRUNSDON ARCA (British, 1933-2014); an artist's proof coloured etching 'Derwent water by Moonlight', signed and titled, 44.75 x 60.5cm. (D)Provenance: The Howard Mason Collection. CONDITION REPORT: This lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk
Los 609
BERNARD LEACH (1887-1979) for Leach Pottery; a limited edition etching of a Japanese landscape, 2/25, published by The New Craftsman's Gallery, St Ives, signed and dated 1924, 15 x 11.5cm, framed and glazed. (D) CONDITION REPORT: Appears good with no obvious signs of faults, damage or restoration.This lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk
Los 93
NO RESERVE Incisione. Acquaforte. Lotto di 2 opere.Engravings. Etching. Lot of 2 works.Il lotto comprende:The lot includes:Melis-Marini F. L'Acquaforte. Manuale pratico. Milano: Hoepli, 1924.Bailly-Herzberg Janine. L'eau-forte de peintre au dix-neuvieme siecle. Parigi: 1972. Opera in due volumi. Two volumes.
Los 253
Three pictures including a portrait of a girl in a bolero, oil on canvas, signed indistinctly and dated 62. 60cm x 45cm, Eisnen still life flowers, oil on canvas, signature indistinct, 49cm x 39cm, and Aldo Raimondi, La prima Neve' etching on silver, engraved signature, 211/999, 25 grams of silver, 13cm x 17cm (3)
![[§] LEON UNDERWOOD (BRITISH 1890-1975)SELF-PORTRAITWhite-line etching, signed and dated ‘2214cm x 9cm (5.5in x 3.5in)](https://cdn.globalauctionplatform.com/1304ecaf-2163-4f92-bf18-a95900c00e1f/999388a0-27af-4261-b5b4-efe53979fb1a/468x382.jpg)
![[§] AUGUSTUS JOHN O.M., R.A. (WELSH 1878-1961)BENJAMIN EVANSEtching, signed14.5cm x 11.5cm (5.75in x 4.5in) and a further two](https://cdn.globalauctionplatform.com/1304ecaf-2163-4f92-bf18-a95900c00e1f/c2920551-774f-45e5-a52b-f5d2867c45f2/468x382.jpg)
![[§] JAMES MCBEY (SCOTTISH 1883-1959)BRIGHTLING SEA, 1922Etching, signed and numbered XIII/L23cm x 36.5cm (9in x 14.5in) and a](https://cdn.globalauctionplatform.com/1304ecaf-2163-4f92-bf18-a95900c00e1f/48e46faa-ab99-489b-aa91-3e89c28a8422/468x382.jpg)
![[§] JAMES MCBEY (SCOTTISH 1883-1959)ALBERTEtching, signed and numbered VIII in ink to margin, signed and dated ‘14 July 1917,](https://cdn.globalauctionplatform.com/1304ecaf-2163-4f92-bf18-a95900c00e1f/4e545fc6-f089-49b0-bb30-b9712462a810/468x382.jpg)
![[§] GERALD LESLIE BROCKHURST (BRITISH 1890-1978)ADOLESCENCEEtching, signed39cm x 28cm (15.25in x 11in)Provenance: Elizabeth H](https://cdn.globalauctionplatform.com/1304ecaf-2163-4f92-bf18-a95900c00e1f/2d52a396-4059-4448-c863-b3b84235d605/468x382.jpg)
Los 279
[§] GERALD LESLIE BROCKHURST (BRITISH 1890-1978)ADOLESCENCEEtching, signed39cm x 28cm (15.25in x 11in)Provenance: Elizabeth Harvey-Lee, OxfordshireLiterature: Guichard, Kenneth M., 'British Etchers: 1850-1940,' Robin Garton 1981, pl. 11, pp. 29-30.Note: From an edition of 91 and believed to be the 5th and final state.Note: Gerald Leslie Brockhurst's print masterpiece Adolescence is the focal point of the Kirkton House collection of etchings. As the artist's most celebrated work within the medium and one of the greatest prints of the 20th century, it is a perfect centrepiece to a carefully considered collection of British etchings.Throughout his career, Brockhurst was particularly concerned with the evocation of feminine beauty. A precocious drawing talent, he commenced training at the Birmingham School of Art aged twelve, before going on to secure a scholarship to the Royal Academy Schools. He became one of the most successful and sought after portrait painters in London, but always maintained his fundamental skill as a draughtsman. When it became clear that the market for contemporary etching was growing, Brockhurst translated his drawing skills into the technique of etching, mastering the medium and publishing his first set of prints in 1920. The wider fashion in etchings at this time was for landscapes and cityscapes, but Brockhurst pursued the same subjects as his paintings, producing exceptionally detailed portraits and figures studies that became extremely popular. He drew on a wide range of visual influences that celebrated female beauty, from contemporary glamour portraits and fashion photography to Italian Renaissance paintings, to develop his own distinct style.In his ongoing exploration of female beauty and the theme of young womanhood, Brockhurst utilised each of his two wives as regular models. His first wife, Anais appears in etchings he created throughout the 1920s, patiently posing as a range of different characters as well as herself, however, the marriage itself came under strain after she learnt of his infidelity with her sister, Marguerite. Brockhurst then met and fell in love with Kathleen Nancy Woodward, whom he re-named Dorette, following his established penchant for gifting his female portraits and sitters with exotic names, a teenage model at the Royal Academy. She became his regular model and muse, and is the figure depicted in Adolescence. Following his divorce from Anais, they married and moved to the United States, amidst an unsurprising whirlwind of scandal.Adolescence is a charged work, as well as technical masterpiece. Brockhurst's mastery of the etching technique to render a range of surface textures and tones, particularly skin, is profound. This is the largest scale Brockhurst worked on in etching, yet the details are minute, and the process painstaking. His etchings have sometimes been mistaken for aquatints as he manages to create such tonal variety and soft edges, yet each work is etched, line by line, dot by dot. The subject is not so straightforward; the teenaged Dorette sits naked, contemplating herself in front of the mirror. It can be viewed as a psychological portrait as well as a physical one, exploring the complex and contradictory emotions and anxieties brought on by the process of adolescence, a conflict we can see across Dorette's expression, and in her uncertain gaze. This is a vulnerable moment where she is open with her anxieties and lack of certainty and confidence, rather than attempting to mask them. She is almost an adult, and is desired as one by the artist, yet there is still a great deal of youth and vulnerability to her, and it is this blurred boundary that so compelled the artist and continues to make this an enticing, elusive image.Adolesence is widely considered a masterpiece of the etching medium, a tour de force of the skills required to work effectively in the genre, with a subject that is compelling and complicated in its surprising emotional depth. It is easy to see why it remains so revered, and not a little scandalous.
![[§] GERALD LESLIE BROCKHURST (BRITISH 1890-1978)HENRY RUSHBURY (SECOND PLATE) - 1930Etching, 13th and final state, 140 impres](https://cdn.globalauctionplatform.com/1304ecaf-2163-4f92-bf18-a95900c00e1f/6e7eb690-2a61-42fe-bc26-a7884efe8fc7/468x382.jpg)
Los 280
[§] GERALD LESLIE BROCKHURST (BRITISH 1890-1978)HENRY RUSHBURY (SECOND PLATE) - 1930Etching, 13th and final state, 140 impressions made, signed by artist and sitter27cm x 20cm (10.75in x 8in) and another etching by the same hand ‘Henry Rushbury 4, 1920’ (2)Provenance: The Fine Art Society, LondonLiterature: Wright 66
![[§] GERALD LESLIE BROCKHURST R.A., R.P., R.E. (BRITISH 1890-1978)AMBERLEY BOY NO. 2Etching, signed in pencil22.5cm x 17.5cm (](https://cdn.globalauctionplatform.com/1304ecaf-2163-4f92-bf18-a95900c00e1f/c888925b-56e4-4be5-d80f-00d4ba1d939b/468x382.jpg)
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78472 Los(e)/Seite