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Los 345
*@Rosenkrantz (Arild, 1870-1964). Adoration, pastel, showing a standing male figure in a blue tunic with arms outstretched in worship before an elevated cross transfigured by light, with a lantern on the ground beside, signed lower right, 63.5 x 45.5cm (25 x 18ins), original architectural gilt frame (slight loss to upper right), with Horner Galleries, Sheffield, label on verso Baron Arild Rosenkrantz was a Danish painter, sculptor, stained glass artist and illustrator, who studied in Rome and Paris, and spent much of his working life in England. He was influenced by the Pre-Raphaelites, in particular Edward Burne-Jones, and also by William Blake, Turner and Monet. In 1894 and 1895 he travelled to New York where he started working with stained glass, carrying out work for The Decorative Stained Glass Company and Tiffany. In England he showed work in the final exhibitions of the New Gallery, the favoured gallery of Burne-Jones and his followers in the 1890s, which closed in 1909. He had many commissions, including twelve large panels for the ceiling in the dining room at Claridges Hotel in London. He made stained glass windows and bronze sculptures for a number of English churches, houses and castles, and also established himself as a portrait painter, as well as a book illustrator. Arild Rosenkrantz was a spiritual seeker throughout his life, meeting Rudolf Steiner in 1912, founder of the philosophy of anthroposophy, the connection of the human understanding with the spiritual world. This painting, in both technique and subject matter, is typical of the deeply emotive and otherworldly quality of his work. (1)
![*[Laura Knight, 1877-1970]. Printed presentation certificate awarded to Laura Knight at the Amsterdam Olympic Games, 1928, li](https://cdn.globalauctionplatform.com/2eb3dfff-c50e-4326-b646-a625012bde72/87485e6f-0a48-45bc-ed1c-ca520514c337/468x382.jpg)
Los 621
*[Laura Knight, 1877-1970]. Printed presentation certificate awarded to Laura Knight at the Amsterdam Olympic Games, 1928, lithographic poster printed in black and gold, on heavy wove paper, designed by Christian van der Hoef, printed by Senefelder, Amsterdam, awarded to Laura Knight in the Fine Art competition, in which she received the silver medal, signed by the president of the Netherlands Olympic Committee and the president of the International Olympic Committee, some light toning and minor marks to margins, with a few light creases, sheet size 745 x 545 mm (29.3 x 21.5 ins) (1)
Los 598
*Conder (Charles, 1868-1909). Seated Lady, etching on laid paper, an artist's proof, signed in blue pencil, and marked 'Artist's proof' to lower margin, additionally signed within the plate with initials C.C. lower left, and with an area to the lower left of the plate marked off in blue pencil, plate size 202 x 150 mm (7.95 x 5.9 ins), light surface marks and overall spotting, laid down on backing card, sheet size 315 x 265 mm (12.4 x 10.5 ins) Provenance: From the collection of Lady Ottoline Morrell by descent. (1)
Los 450
*Van Dyck (Anthony, 1599-1641). Christ crowned with thorns (also known as The Reed offered to Christ), circa 1631, etching and engraving on heavy wove paper, by Lucas Vorsterman, with printed inscription at foot Anton Van Dyck invenit et fecit aqua forti, but without the privilege or publisher's name Bon Enfant, a very good well-inked dark impression, faint manuscript initials N.St. to lower right corner (possibly an early ownership), trimmed to plate mark, sheet size 264 x 215 mm (10.4 x 8.5 ins), some light scattered spotting and pale glue stains to extreme corners, mounted Hollstein 20. Of Van Dyck's 19 etchings 17 are portraits, the exceptions being Titian and his mistress (Hollstein 628 and the present work, Hollstein 519). (1)
![*Ghisi (Giorgio Mantovano, circa 1520-1582). The Last Judgement (after Michelangelo), mid 1540's [but later, circa 1677], en](https://cdn.globalauctionplatform.com/2eb3dfff-c50e-4326-b646-a625012bde72/001bc39b-192d-4b2b-b348-582e71e355bf/468x382.jpg)
Los 439
*Ghisi (Giorgio Mantovano, circa 1520-1582). The Last Judgement (after Michelangelo), mid 1540's [but later, circa 1677], engraved portrait frontispiece of Michelangelo by Ghisi, engraved plate of the complete Last Judgement by Sebastian Furck (1589-1665), and ten irregularly shaped double-page copper engraved plates of Michelangelo's Last Judgement in the Sistine Chapel, numbered A-I and L, the latter signed Georgius Mantuanus, and the preceding plate I with printed dedication to Matthys van de Merwede, the general plate and final plate L with publisher's name Giovanni Giacomo Rossi, Rome (active 1638-1684), all on laid paper, some marks and marginal soiling and light waterstain to upper inner margins, portrait with semi-circular portion to lower blank margin excised, generally with very wide margins, sheet size 495 x 620 mm (19.5 x 24.4 ins), contemporary calf-backed marbled boards, worn, folio Boorsch & Lewis, Engravings of Giorgio Ghisi, Metropolitan Museum of Art, New York (1985), 9, state v. The late reissue by Giovanni Giacomo Rossi (1600-1699) of Ghisi's famous engravings after Michelangelo's fresco of the Last Judgement, originally published by Antonio Lafreri. (1)
Los 609
*Griggs (Frederick Landseer, 1876-1938). Meppershall Chapel, 1915, etching on laid paper, one of 30 impressions of the third state, signed in pencil, some light toning, sheet edges with some tears and loss to edges (caused by previous mounting and glue), encroaching particularly to the lower right corner of the image (but with some margin on all sides), plate size 131 x 116 mm (5.2 x 4.5 ins), sheet size 210 x 185 mm (8.3 x 7.2 ins), with margins shorter in several places Comstock 13, iii/iii. (1)
Los 639
*@Picasso (Pablo, 1881-1973). Los Toreros I-IV, 1961, together 4 lithographs, including one in colour, as issued in Jaime Sabartes, Picasso: Toreros, published by A. Zwemmer & A. Sauret, 1961, the English edition, with numerous colour and monochrome illustrations, contemporary presentation inscription to Robert Gardner-Medwin to front blank, dated February 1963, original decorated red cloth with slipcase (faded and some marks to edges), a few light spots to margins, oblong folio, sheet size 245 x 315 mm (9.7 x 12.5 ins) (1)
Los 471
*Aldunate (Carmen, Chilean, 1940-). La Lujuria, 'Lust', 1963, oil on canvas, signed, titled and dated to verso, Chilean export stamp to verso, 120 x 120cm (47x 47ins), framedProvenance: A private collection, London. Purchased by the vendor in a Santiago gallery in 1969 (export stamp to verso is dated 31 January 1970). Carmen Aldunate is a leading light in the Latin American Neo-Figurative movement, bringing a distinct feminist flavour clearly evident in the present work. Her work has been exhibited by galleries worldwide including the Museum of Modern Art in 1977, the Minories Art Gallery, Essex (2003), and an Eastern European travelling exhibition in 2004, as well as South America. (1)
Los 608
*Griggs (Frederick Landseer, 1876-1938). Lone-End, 1930, etching on pale cream laid paper, signed in pencil, and inscribed in black ink to verso D.H.P. for Dove's House Press, and numbered 18, from the published edition of 90 impressions, some pale discoloration and light spotting and surface marks, 182 x 260 mm (7.15 x 10.25 ins), sheet size 246 x 320 mm (9.7 x 12.5 ins) Comstock 43, iii/iii. (1)
Los 459
*Watts (Simon, active 1760-1780). The Assumption of the Virgin Mary (after Luca Cambiaso), 1763, woodcut printed in ochre, on laid paper, with margins, in very good condition, 475 x 300 mm (18.75 x 11.75 ins) mount aperture, framed and glazed, together with Skippe (John, 1741/42-1811), Joseph Sold into Slavery by his Brothers (after Raphael), 1783, colour chiaroscuro woodcut on laid paper, printed in black, grey-green and light green, image size 215 x 285 mm (8.5 x 11.25 ins), with separate printed dedication label mounted below, bearing the inscription 'Joanni Lane de Hospitio Lincoln: Arm: hoc observantiae pignus, prout Amico debitum praestantissimo, libenter offert J. Skippe', mounted on original laid backing paper, 292 x 367 mm (11.5 x 14.5 ins) plus Mulinari (Stephano, 1741-1790), La guida Imene, e Palpita alla Fanciulla il Core: Vide la Sua Vittoria, e la dipinse Amore (after Giovanni da San Giovanni), copper engraving with aquatint in sepia on laid paper, plate size 310 x 400 mm (12.25 x 18.75 ins), sheet size 345 x 470 mm (13.5 x 18.5 ins), and 2 other smaller colour woodcut prints after Parmigianino from the collection of Jonathan Richardson, one dated 1734, each mounted on large laid paper, folio sheet, and numbered in a contemporary hand in brown ink to lower right 44 and 54 (5)
Los 440
*Goya (Francisco de, 1746-1828). El famoso Martincho poniendo banderillas al quiebro (The famous Martincho playing the bull with the movement of his body), 1816, etching, drypoint burin and burnished aquatint on laid paper, with partial watermark 'AN', numbered 15 to top right, plate size 257 x 352 mm (9.7 x 13.8 ins), one or two surface marks and light diagonal crease towards left hand side, sheet size 313 x 475 mm (12.3 x 18.7 ins), tab-mounted Delteil 238. Harris 218. (1)
Los 334
*Attributed to Edward Lear (1812-1888). Tivoli, 24th October 1839, pencil and watercolour on paper, unsigned, but inscribed in pencil with location and date lower right, light overall toning, sheet size 235 x 400 mm (9.25 x 15.75 ins), laid down on modern backing card, window-mounted In May 1839, Lear left Rome, obstenibly destined for Florence, but first headed east to Tivoli and nearby Arcinazzo and Civitella di Subiaco (where he stayed until mid-October). The pencil inscription bears comparison with examples of Lear's handwriting. (1)
Los 947
THREE WATERCOLOURS, Evening Light Barnard Castle, signed lower right J A Dees, approximately 34.5cm x 52.5cm, 10 Deck Chairs Lyme Regis, signed lower right P Pagett, approximately 22.5cm x 38cm and Lock Keepers Cottage at Foxton, signed lower left Lila Bradshaw, approximately 30cm x 46.5cm (3)
Los 553
A Diamond Solitaire Ring with Princess Cut Diamond set in a 14ct white gold four claw setting, three diamonds set in shoulders, two brilliants and one small princess cut between brilliants set in 14ct yellow gold light setting. Diamonds: One centre princess cut diamond approx .50 carats, two princess cut diamonds 2.5mm square and two brilliants 2mm. With a Hugh Statham Insurance Valuation Certificate for £3000 (dated 1998).
Los 304
TWO ANTIQUE AND LATER RUSH LIGHT HOLDERS, an 18th Century possibly West Country example driven into a circular conical shaped base, the nip with a shallow curved counterweighted arm, 19 cms overall height and a later, possibly cast example with sconce nip counterweight set in an early oak square shaped base with canted corners, 20 cms overall height approximately
Los 783
An attractive 19th Century French ormolu and gilt metal Clock Garniture, the clock with embossed and engraved decoration and with many inset porcelain and enamel adornments including portraits, and circular dial, the works by Japy Freres, Paris, and with matching pair of similar 5 light candelabra, en suite. (3)
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534325 Los(e)/Seite