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70553 Los(e)/Seite
Los 809
Gerd Winner - Exhibition poster for Galerie Schmucking, Braunschweig, February, 1977, lithograph, unframed, 100cm x 70cm, also one other Gerd Winner poster for Galerie Schmucking, Berlin and two Herman Miller Summer Picnic posters. (4) NB - This lot may be subject to Artist's Resale Right levy.
Los 78
An Aesthetic Movement Royal Worcester pedestal dish in the manner of Charles Baldwin, rectangular lily pad bowl with inverted rim on a water-lily flower-bud foot, painted with a starling perched on a bough, whilst another flies away, in colours, highlighted in gilt, a Thomas Ivester Lloyd Leaping Hounds, ink on paper framed and a coloured lithograph of Westminster Pit, framed, printed factory mark, 25cm. wide (3)
Los 235
A monumental silver African bull elephantdesigned and modelled by Victor Hayton for the World Wildlife Fund, maker's mark for Hamilton and Inches, Edinburgh 1997, signed 'Hayton', limited edition numbered 2 of 5, script '94 and additional markA realistically modelled African bull elephant, naturalistically cast and chased in intricate detail, the powerful animal suspended in motion, with animated expression and powerful polished tusks to the fore, comes with a framed limited edition lithograph bearing the image of the elephant, signed by the artist and certifying this is model number two of only five cast, and inscribed 'Amboseli, June 1993', height 38cm, length 60cm, weight 428oz. (2)Footnotes:Amboseli National Park is part of a vast, cross-border wildlife ecosystem about 200 kilometres south of Nairobi. An oasis supporting over 1,800 elephants and other megafauna in the dusty shadows of Mount Kilimanjaro, it is a UNESCO Man and Biosphere Reserve and the only national park in Kenya established through negotiations with community landowners. The park's African elephants have thrived in this small, semi-arid landscape. Water from seasonal swamps sustains them, and the community lands provide safe and secure spaces to graze. Amboseli National Park therefore offers some of the best opportunities to see African wildlife, because of the sparse vegetation due to the long, dry months. The protected area is not only home to African bush elephant, but also to Cape buffalo, impala, lion, cheetah, spotted hyena, Masai giraffe, Grant's zebra, and blue wildebeest, with a whole host of large and small birds.In the 1990s, this magnificent African bull elephant silver sculpture was purportedly commissioned by the Duke of Edinburgh on behalf of the World Wildlife Fund (WWF). Beautifully executed by the artist Victor Hayton, it is number two out of a limited edition of five made. Given the date of this piece, it is possible (although not confirmed) that this was a representation of 'Tim', the famous great tusker who roamed freely across Amboseli National Park for over 50 years, and was its most famous resident. With his giant stature and spectacular tusks, watching Tim stride out across the Kenyan plains was without doubt a sight to behold, and was a huge draw for the many tourists who visited the Kenyan reserve in the hope of seeing him.Born in January 1969, Tim was four years old when he first came to the attention of wildlife conservation organisations operating in Amboseli. They watched as he grew and became independent, observed him as he reached maturity, and were proud to see him become one of Africa's most famous elephant's, thanks, in part, to his exceptional tusks. Tim was a magnificent bull elephant; one of Kenya's last great tuskers. But it wasn't just his tusks which set him apart from the herd. Amongst those who observed him, he was renowned for his calm and gentle nature, and was popular with other elephants of all ages. He was known to nurture friendships with younger males who were learning to be independent, and was a favourite choice of mate for females, fathering multiple calves over his lifetime. He died of natural causes in 2020, creating global headlines, with the world mourning his passing. The Duke of Edinburgh, way before it became fashionable, carried out pioneering work promoting environmental causes, having encouraged conservation in his singular style throughout his life. His passion for conservation and the environment was best characterised by his long relationship with the World Wildlife Fund (WWF). He toured the world to draw attention to the plight of wildlife endangered by poaching, deforestation and pollution, photographing seals in Antarctica, feeding elephants in Africa and posing with pandas in China. 'We depend on being part of the web of life, we depend on every other living thing on this planet, just as much as they depend on us,' he once reflected. Tim, alongside the other protected African elephants and wildlife at Amboseli, was a testament to what effective conservation could achieve. This symbolic sculpture was purportedly offered to chosen Heads of State to promote the organisation's aims and raise funds, a tool to encourage conservation activism globally (please note, this information is anecdotal rather than verified). As such, His Royal Highness was actively involved with the World Wildlife Fund from 1961 in a variety of roles, from President of the UK branch, to member of the International Board to International President and finally President Emeritus. At the invitation of Sir Peter Scott, the founding chairman of the World Wildlife Fund, The Duke of Edinburgh became President of the Fund's UK Branch in 1961. Between 1965 and 1980 he was a member of the Board of Trustees of WWF International. In 1981 His Royal Highness gave up the UK Presidency and became International President until 1996 when he retired and became President Emeritus.As Pavan Sukhdev, President of WWF International stated on the passing of HRH The Duke of Edinburgh in 2021:-'The Duke of Edinburgh has been a tireless champion for the environmental cause and a passionate ambassador for conservation issues around the world for decades. His Royal Highness helped chart the course of WWF from its very beginning and has truly made enormous contributions to the organization.'Across more than 50 years, His Royal Highness, Prince Philip's efforts on behalf of WWF have been inestimable – visiting WWF projects in over fifty countries on five continents, promoting conservation issues at the highest government and corporate levels, and helping with essential fundraising and awareness promotion...'This imposing silver sculpture of a proud and free roaming African bull elephant symbolises what the World Wildlife Fund represents, and what we need to protect and preserve for future generations.Literature:Born Free Foundation, 'Remembering Tim: 1969 - 2020', accessed via https://www.bornfree.org.uk/articles/remembering-timKenya Wildlife Service, 'Amboseli National Park', accessed via https://www.kws.go.ke/amboseli-national-parkThe Independent, 'How Prince Philip tacked conservation and climate change', 9th April 2021, accessed via https://www.independent.co.uk/climate-change/news/prince-philip-conservation-climate-change-b1829227.htmlWorld Wildlife Fund, 'HRH The Duke of Edinburgh', accessed via https://wwf.panda.org/wwf_news/?1995941/A-champion-for-the-environmentFor further information on this lot please visit Bonhams.com
Los 263
* Tavener (Robert, 1920-2004). Canterbury Cathedral from Green Court, colour lithograph on thick wove paper, signed in pencil to lower right margin, numbered '28/75', old adhesive mark to top edge, image size 500 x 680 mm (20 x 27 ins), sheet size 540 x 735 (21 1/2 x 29 ins), together with Gentlemen (David, 1930-). King's College, Cambridge, colour lithograph on thick wove paper, signed in pencil to lower right margin, numbered '184/200', image size 410 x 530 mm (16 x 21 ins), sheet size 500 x 630 mm (20 x 25 ins), with two further colour lithographs by David Gentlemen including The Deanery, Lichfield and The Palace, Lichfield, both signed, plus prints by Robert Barnes, Frederick E Courtney, Martin Crane and Albert Drachkovitch-ThomasQTY: (10)
Los 135
* Fantin-Latour (Henri-Theodore, 1836-1904). Adolphe Jullien, Hector Berlioz, sa vie et ses oeuvres, Ouvrage orné de quatorze lithographies originales par M. Fantin-Latour, Paris: Librairie de l'Art, 1888, 14 full-page lithograph plates by Fantin-Latour, monochrome illustrations to text, tissue-guards (several torn or creased, tissue gurard to frontispiece not present), printed bookplate of Kenneth Clark, Saltwood to front pastedown, top edge gilt, contemporary red half morocco, spine elaborately gilt with raised bands, very lightly rubbed and small chip to head of rear joint, 4to (32 x 22.5 cm)QTY: (1)NOTE:Provenance: Kenneth Clark, Saltwood (bookplate).
Los 268
AR * Lowry (Laurence Stephen, 1887-1976). The Reference Library, Manchester, 1972, offset lithograph on wove paper, from the edition of 850 impressions, Fine Art Trade Guild blindstamp to lower left, signed in pencil to lower right, laid down to backboard and window mount, image size 242 x 350 mm (9 1/2 x 14 ins), sheet size 400 x 535 mm (15 3/4 x 21 ins), double mountedQTY: (1)
Los 96
* Wyndham (Charles, 1796-1866, of Petworth, Sussex). Scrap album compiled by Charles Wyndham (5th child and 3rd son of George O’Brien Wyndham, 3rd Earl of Egremont and Elizabeth Ilive), of manuscript verse, letters, wash drawings and pencil sketches, including landscapes at Petworth, printed views and illustrations, circa 1800-1840, containing various manuscript verse and letters, including an envelope hand-addressed by Queen Charlotte to the Countess of Egremont, High Clear, Hants, with red seal, a detailed list of the 'Dinner given for 5500 men in the Park at the Mote, 1st August 1799', a verse epitaph on the death of the Rt. Honble George Greville, another on the Duc de Bordeaux, dated Edinburgh 31 December 1831, a handwriiten Total of Expenses for Wyndham's voyage from London to Bombay, dated Solapore, November 1822, a letter of commission from the War Office, dated 27 March 1822, informing Captain Wyndham, of the Second Regiment of Life Guards of his forthcoming promotion to Major in the Sixty Seventh (or the Tenth Hampshire) Regiment of Foot, signed by Palmerston with red seal, a manuscript letter from the Attorney General to Miss Elizabeth Scott, dated Pegwell 5 January 1805, and another letter to Elizabeth Scott of Merton House from Francis James Scott, dated Harrogate November 15 1813, about his tour of Russia, etc., 18 mostly pencil views (but including watercolour and wash landscape studies), including several of Petworth in Sussex, 'Petworth 1837', 'The Tower of Naussan from the Bank behind Ems', 'Petworth Children's Feast', one of Nice, one of Sorrento (?), a pen, ink and brown and grey wash view of 'Part of Goldilands' on whatman paper watermarked J Whatman 1820, etc., lithograph and engraved views of Tunbridge Wells, Mr. Cocking and his balloon and parachute, 1837, various pasted newscuttings and wood engraved illustrations, all mounted (a few loose) onto album leaves, the first page inscribed in red ink 'Album, C Wyndham, commenced 28 July 1837', original dark brown half calf over marbled boards, similarly labelled in red ink to upper cover, rubbed, folio (36 x 26 cm)QTY: (1)NOTE:Provenance: Purchased by the current owner in the late 1960's from Streeter & Daughter, an antique shop opposite Petworth Church, Sussex (note inserted at front).Charles Wyndham (1796-1866) of Petworth, Sussex was born in 1796, the 5th child and 3rd son of George O’Brien Wyndham, 3rd Earl of Egremont and Elizabeth Ilive. The first four children were born illegitimately, before the Earl married Miss Ilive in 1801, so Charles (and his brothers Henry and George) were illegitimate. He married Elizabeth Anne Hepburne-Scott, daughter of Hugh Hepburne-Scott, 6th Lord Polwarth and Harriet Brühl, on 3 October 1835. Wyndham joined the Army by purchasing his commission in the 10th (Prince of Wales’s Own) Regiment of (Light) Dragoons (Hussars) on the 13th May 1813. The 10th Hussars were despatched to Spain and fought at the Battle of Morales in June 1813, taking around 260 prisoners. Later in the month, the regiment also fought at the Battle of Vitoria and then, having advanced into France, fought at the Battle of Orthez in February 1814 and the Battle of Toulouse in April 1814. Following his service in the Peninsular War he was promoted to Lieutenant on the 4th May 1815 and served in the Battle of Waterloo as part of the 2nd (Royal North British) Regiment of Dragoons (Scots Greys) No 2 Troop, commanded by Captain Edward Payne. During this conflict he was injured, being shot twice, once in the foot, but refused to be returned on the list of wounded.Apparently nicknamed “the handsomest man in the Army” by King George IV, Wyndham was awarded the Army Gold Medal/Military General Service Medal, 1793-1814 with three clasps for Vittoria, Orthez, and Toulouse and the Waterloo Medal 1815.
Los 272
* Various Artists. Artist's Choice Portfolio, 1987, comprising Michael Heindorf (1949-), The Baron in the Trees, colour lithograph, John Golding, Essai, lithograph, Alf Dunn, In Vacant or in Pensive Mood, colour screenprint & lithograph, Michael Vaughan, Death and the Maiden, etching, and Leonard Rosoman, Ship Series - Man Blown in the Wind, colour lithograph, published in an edition of 48 sets by the Royal College of Art in 1987, each signed and numbered 18/48, sheet size 29.5 x 30 cm (11 5/8 x 11 3/4 ins) and similar, each framed and glazed, together withBlake (Peter, 1932-). Composition, circa 1986, pen and crayon, signed upper left margin, mount aperture 8.5 x 13 cm (3 3/8 x 5 1/8 ins), framed and glazed (21.5 x 25.5 cm), together with a signed copy of Peter Blake by Marina Vaizey, London: Weidenfeld and Nicolson, 1986, ink inscription to half-title 'To Mervyn Peter Blake R.A. Nov 14. 86', together with a copy of an invitation to celebrate the work of Peter Blake on Thursday 28th November 1985QTY: (8)
Los 233
* Pannell (Joseph, 1857-1926). Ships at Night, Changing Shifts, 1916, lithograph on watermarked Ingres laid paper, a proof aside from the published edition of 50, signed in pencil, full sheet, image size 405 x 530 mm (16 x 21 ins), sheet size 485 x 630 mm (19 x 24 3/4 ins), together with Strang (William, 1859-1921). A Love Song, 1908, etching with drypoint on ivory laid paper, printed with plate tone, signed in pencil bottom right, plate size 305 x 227 mm (12 x 9 ins), sheet size 389 x 265 mm (15 1/4 x 10 1/2 ins), and Lee Hankey (William, 1869-1952). Women of Étaples, circa 1928, etching with drypoint on cream japan paper, a rich impression, a proof aside from the published edition of 100, signed in pencil, with artist's blindstamp, full sheet, some toning, plate size 205 x 170 mm (8 x 6 3/4 ins), sheet size 396 x 230 mm (15 1/2 x 9 ins), and further signed etchings by Ian Strang, John Hall Thorpe, William Walker, Margaret Rudge, Dorothy Sweet, and Frederick Marriott, all various sizes and conditionsQTY: (20)
Los 69
* Labouchère (Pierre Antoine, 1807–1873). Luther, Melanchthon, Cruciger and Pomeranus translating the Bible at Frankfurt, 1854, oil on canvas, 37.5 x 47 cm (14 3/4 x 18 1/2 ins), in a gilt frame with foliate and beading motif and cartouche engraved with the artist’s name, date, and title ‘Martin Luther translating the Bible’, an early pasted catalogue entry verso typewritten with the artist’s name and title 'Luther, Melancthon, Cruciger and Pomeranus translating the Bible at Frankfort', frame 45.5 x 53.5 cmQTY: (1)NOTE:Provenance: W.A. Foyle; Christopher Foyle, Beeleigh Abbey.A lithograph after the original much larger-scale version of this work was issued in 1846 by Alphonse Léon Noël, (1807-1884), and an engraving after the work by J. Rogers was published in Henry Tyrell, W.C. Stafford and John Sherer, The Royal History of England, from the earliest period to the present time, embellished with a series of steel engravings (London: J. G. Murdoch, 1876).Pierre-Antoine Labouchère was born in Nantes on November 26, 1807, a descendant of a Huguenot family who had emigrated to the Netherlands at the time of the religious wars. Between 1843 and 1870 he exhibited scenes from the history of the Reformation almost yearly at the Salon de Paris, where they attracted much attention. He received a third class medal in 1843 for his painting Le Duc d’Aumale dans les bois d’oliviers (Musée de Chantilly), and a second class medal in 1846 for his painting Luther, Mélanchton, Poméranus et Cruciger traduisant la Bible.
Los 9
§ GERALD LESLIE BROCKHURST R.A. (BRITISH 1890-1978) THREE PRINTS: ANAIS; YOLANDE (FLORENCE LAYZELL, MRS HENRY RUSHBURY); HEAD OF A GIRL - 1944 Etching, signed in pencil to marginYOLANDE, Etching, signed in plate, signed in pencil to marginHEAD OF A GIRL, Lithograph, signed with initials in print, signed and dated in pencil Dimensions:plate sizes 14cm x 11cm (5.5in x 4.25in); 11.5cm x 8.5cm (4.5in x 3.5in) 29.5cm x 22cm (11.5in x 8.75in), each unframed Provenance:Provenance: Private British collection Note: Gerald Brockhurst’s primary muses were Anäis Folin and Kathleen Woodward. Both sat for numerous portraits and figure studies with the aid of lavish period-style costumes and props, often in whimsical guises inspired by the heroines of Shakespeare or Greek mythology.Anäis, Brockhurst’s first wife, was the defining muse of his early portraiture. For most of the First World War the couple lived in Ireland where they befriended the artist Augustus John. During this period Brockhurst predominantly produced paintings, and was encouraged by John to adopt a freer paint-application technique.Brockhurst had experimented with printmaking in the 1910s, but it was not until the early ‘20s that he committed to etching in earnest. In a market increasingly oversaturated with etchings of landscapes and urban views, Brockhurst concentrated on portraiture, many of which were transpositions of compositions he had painted in the late 1910s and early ‘20s. He soon achieved distinction for his rendering of skin, hair and textiles with astonishing naturalism. Each composition is imbued with a refined stillness, with flesh that appears almost to glow and to possess conceivable weight and mass.From 1928 Brockhurst joined the Royal Academy Schools as a visiting teacher and met the sixteen year old Kathleen Woodward, who went by ‘Dorette’. She became his new muse, and the pair later married.In 1939 the couple moved to America where Brockhurst enjoyed great acclaim. Commissions from prominent figures including Marlene Dietrich, The Duchess of Windsor and J. Paul Getty helped crystallise his legacy as one of the most important British portrait artists of the early twentieth century. A retrospective of Brockhurst’s portraiture was held at the National Portrait Gallery in London, the Graves Gallery in Sheffield and the City Art Gallery in his native Birmingham.
Los 15
§ GERALD LESLIE BROCKHURST R.A. (BRITISH 1890-1978) THREE PRINTS: ALMINA -1924; LE CASAQUIN DE LAINE; THE BLACK SILK DRESS Etching, signed in pencil to marginLE CASAQUIN DE LAINE, Etching, signed twice in plate, signed in pencil to marginTHE BLACK SILK DRESS, Lithograph, signed and dated in plate with printer's stamps to margin, signed in pencil to margin Dimensions:plate sizes 18cm x 13.5cm (7in x 5.25in); 20cm x 14.5cm (8in x 5.75in); 23cm x 16cm (9in x 6.25in) Provenance:Provenance: Private British collection Note: Gerald Brockhurst’s primary muses were Anäis Folin and Kathleen Woodward. Both sat for numerous portraits and figure studies with the aid of lavish period-style costumes and props, often in whimsical guises inspired by the heroines of Shakespeare or Greek mythology.Anäis, Brockhurst’s first wife, was the defining muse of his early portraiture. For most of the First World War the couple lived in Ireland where they befriended the artist Augustus John. During this period Brockhurst predominantly produced paintings, and was encouraged by John to adopt a freer paint-application technique.Brockhurst had experimented with printmaking in the 1910s, but it was not until the early ‘20s that he committed to etching in earnest. In a market increasingly oversaturated with etchings of landscapes and urban views, Brockhurst concentrated on portraiture, many of which were transpositions of compositions he had painted in the late 1910s and early ‘20s. He soon achieved distinction for his rendering of skin, hair and textiles with astonishing naturalism. Each composition is imbued with a refined stillness, with flesh that appears almost to glow and to possess conceivable weight and mass.From 1928 Brockhurst joined the Royal Academy Schools as a visiting teacher and met the sixteen year old Kathleen Woodward, who went by ‘Dorette’. She became his new muse, and the pair later married.In 1939 the couple moved to America where Brockhurst enjoyed great acclaim. Commissions from prominent figures including Marlene Dietrich, The Duchess of Windsor and J. Paul Getty helped crystallise his legacy as one of the most important British portrait artists of the early twentieth century. A retrospective of Brockhurst’s portraiture was held at the National Portrait Gallery in London, the Graves Gallery in Sheffield and the City Art Gallery in his native Birmingham.
Los 734
C W Smith/View of a Nepalese Temple/with waders in the foreground/photo lithograph, 19cm x 24cm CONDITION REPORT: Condition information is not usually provided in the description of the lot but is available upon request; the absence of a condition report does not imply that a lot is without imperfection
Los 36
▴ Edward Bawden RA (1903-1989) 'The Great Exhibition' Christmas card, designed for the Fellows of the Royal Society of Arts, 1962 lithograph, printer’s proof 16 x 38.5cm Provenance: Fry Art Gallery, Saffron Walden, 'Richard Bawden at Home', 31 March 2018. Condition ReportFramed size 28 x 49cm Not viewed out of glazed frame. Appears to be in good condition.
Los 108
▴ Ben Nicholson OM (1894-1982)'Abstract Composition, 1936'lithograph in colours, 1973sheet 66.5 x 80cm, unframedProvenance: Acquired by the present owner directly from the Curwen Studio.Condition ReportLight handling creases. There are light smudges and dirty marks to the margins but the printed area is unaffected. The top left corner of the margin is inscribed '2' in pen.
Los 238
▴ After Pablo PicassoImaginary Portraitlithograph in colours, signed and dated '69' in the plate, inscribed 'A' and numbered '20/250' in pencil l.l., with printer's blind stamp, from the portfolio 'Imaginary Portraits' (American edition)sheet 64 x 49cmCondition ReportFramed: 81 x 67cmNot viewed out of glazed frame but appears to be in good condition and in our opinion the colours are strong. The work has deckled edges and appears to have been stuck down to a sheet of card behind to give the impression that it is slightly floating in the frame. It has come away from the card it is mounted on at the bottom, and the sheet has a slight curve. Overall the work presents well and ready to hang.
Los 106
▴ Henry Moore OM CH FBA (1898-1986)'Stonehenge'etching and lithograph, a title page from the Stonehenge Suite, the etching on the title page printed by M Bass, London, and signed 'Moore' in pencil l.r., verso 'The Edition', numbered '20/60' and published by Ganymed Original Editions Limited, London, 197458 x 45cmProvenance: Purchased from Wildenstein & Co., New York. Condition ReportFramed: 71 x 58.5cmPresented in a double sided frame. Very slight cockling but appears to be in otherwsie good condition. Not viewed out of glazed frame.
Los 244
▴ Georges Braque (French, 1882-1963)'Le Tir à l'Arc', frontispiecelithograph in colours from 'Le Tir à l'Arc', published by Louis Broder, Paris, 1960, signed 'G Braque' in pencil c.r., inscribed 'oiseau blanc pl bleu, mid noir, stf' l.l., numbered '19/70'sheet 38 x 28cmLiterature: L.S.: 461; Vallier: 153.5; Mourlot: 87.Condition ReportFramed: 67.5 x 62.5cmThe work appears to be stuck down along the top edge. There is a border of discolouration due previous framing, please see images. Creasing to the lower right corner. A faint brown stain to the upper right. Not viewed out of glazed frame.
Los 123
▴ David Hockney OM CH RA (b.1937) ‘Hollywood Bowl Calif.'offset lithograph in colours, 1965, signed and dated 'David Hockney '66' in pencil l.r., an original publicity poster for 'A Hollywood Collection' published by Editions Alectosheet 76.5 x 56.5cm, unframedCondition ReportSlight time staining with spots and speckles of foxing in places. There is a 2cm x 25cm strip of light brown staining to the bottom of the left edge. Previously rolled with light cockling and handling creases. The extreme edges have some very slight creasing and light dirty marks. Please refer to additional condition images.
Los 344
Roberto Matta (Chilean-Italian, 1911-2002)Untitledlithograph and collage with crayons, signed with artist's motif in pencil l.r., inscribed 'L/Z' l.l.sheet 68 x 68cmCondition ReportFramed: 78 x 78cmNot viewed out of glazed frame. Mounted on card and stuck down. A brown stain to lower centre. No obvious major condition issues.
Los 104
▴ John Piper CH (1903-1992)'Llan-y-Blodwell, Shropshire' (Levinson 128)lithograph in colours, 1964, signed 'John Piper' in pencil l.r. and numbered '26/70'image 66 x 45cmProvenance: Purchased from Marlborough Gallery.Condition ReportFramed: 88 x 66.5cmLight creasing throughout with a further 2.5cm crease mark to the right of the blue motif in the upper right quarter. Not viewed out of glazed frame.
Los 240
▴ Marc Chagall (Russian-French, 1887-1985)'Le Joueur de Flute' lithograph in colours, 1957, signed 'Marc Chagall' in pencil l.r., numbered '19/90'image 23.5 x 39cmCondition ReportFramed: 53 x 66cmNot viewed out of glazed frame but appears to be in good condition. Well presented and ready to hang.
Los 243
▴ Georges Braque (French, 1882-1963) 'Cinq Poésies en Hommage à Georges Braque'lithograph in colours, 1958, signed 'G Braque' in pencil l.r., numbered '26/75'sheet 54 x 70cmCondition ReportFramed: 97 x 112cmThe work has deckled edges which have some folds and creases. Light time staining to the top edge. There are some small dark spots to the upper right quarter, please see images. Not viewed out of glazed frame. It is not possible to see how the work has been attached to the sheet.
Los 327
Roberto Matta (Chilean-Italian, 1911-2002)A Christmas card to Cicilia and Clifford signed with artist's motif and inscribed, crayon over a printed base 20 x 28cm;Figuressigned with artist's motif and inscribed, crayon over a printed base24.5 x 20cm;Untitledlithograph printed in colours25 x 20.5cm;Christmas cardwith a sketch and signed with artist's motif inside13.5 x 19cm (folded);and a pen and ink sketch of a frog on board22.5 x 18cm (5)Condition ReportLight handling creases to the first Christmas card. Time staining and three vertical folds to the drawing, with a small tear to the bottom edge. Lithograph has been folded horizontally thre times. Damage to board with frog drawing.
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70553 Los(e)/Seite