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70553 Los(e)/Seite
Los 241
Pablo Picasso (Spanish 1881-1973) GRAND MATERNITÉ signed and numbered 9/200 in pencil in the margin; signed and dated 29.4.63 in the plate lithograph printed in colours sheet size: 55 by 42cm This signed, colour lithograph by Picasso depicts a mother gazing at the baby she cradles. With minimal lines and colour, Picasso has described the immense exchange of affection between mother and child. This lithograph was printed by the artist in 1963 and created after a coloured pencil drawing, Maternité . It was published by Editions Combat de la Paix in Paris.- Suzanne DuncanMasterworks Fine Art, Pablo Picasso, Grande Maternité (Grand Maternity) , 1963, [online] Available: https://www.masterworksfineart.com/artist/pablo-picasso/pablo-picasso-grand-maternity-grande-maternite-1963 [Accessed: 7 December 2017]
Los 244
Marc Chagall (French/Russian 1887-1985) LA GRAND MATERNITE signed and numbered 11/300 lithograph Glass, U (Ed), Chagall: the lithographs , The Sollier Collection: A catalogue raisonne , Russell Book, Victoria, British Columbia, 1998, p196 55 by 71cm Chagall’s use of bright, warm hues of yellows, oranges, pinks and purples expresses the joyful and intimate emotions experienced between mother and child. The print was created in 1954 and is hand signed by the artist. It is printed on Arches wove paper by Charles Sorlier under the direction of Marc Chagall and has been published by Editions Galerie Maeght , Paris.- Suzanne DuncanMasterworks Fine Art, Marc Chagall, Maternite, c. 1956 , [online] Available: https://www.masterworksfineart.com/artist/marc-chagall/ materniteacute-maternity-1954-2 [Accessed: 7 December 2017]
Los 246
Georges Braque (French 1882 -1963) LA NAPPE JAUNE Vallier, D., The Complete Graphics Catalogue Raisonne , Gallery Books, New York, 1982, p295 La Nappe Jaune translates as The Yellow Tablecloth . This work represents Braque’s evolution in his still lifes, here he replaces the formality of his earlier cubist compositions with the more fluid, gestural quality that characterises his later works.La Nappe Jaune is part of a series of lithographs and etchings that were originally based on Braque’s watercolours, gouaches and oil paintings. This particular work relates directly to Still Life With Green Cloth (1943) as well as Still Life (1948). This lithograph was published by Maeght Editeur, Paris.- Suzanne DuncanMasterworks Fine Art, Georges Braque, La Nappe Jaune (The Yellow Tablecloth), c. 1956 , [online] Available: https://www. masterworksfineart.com/artist/georges-braque/la-nappe-jaunethe-yellow-tablecloth-c-1956/ [Accessed 7 December 2017]
![NO RESERVE [Budge (E.A. Wallis)] The Book of the Dead. Facsimile of the Papyrus of Ani in the British Museum, errata slip, 37](https://cdn.globalauctionplatform.com/beb7a171-7c53-466a-b118-a87b01018be2/7aa9e9e7-7458-4422-f05b-903611606a3d/468x382.jpg)
Los 23
NO RESERVE Russia.- Crimean War.- O'Reilly (Lt. Montagu), After. The Combined Fleets of England, France, & Turkey, attacking Sebastopol, on the 17th Oct. 1854, panoramic view of the fleets, with smoke engulfing them, lettered with the names of the ships represented, from the series 'Colnaghi's Authentic Series', tinted lithograph, on wove paper, sheet 560 x 1180 mm. (22 x 46 1/2 in), good margins, vertical folds with repaired splitting, repaired nicks and tears, some surface dirt, handling creases, unframed, Colnaghi and Goupil & Co., 1854 § Wilkinson (Capt. Henry John), After. A Panoramic View of Sebastopol, from 'Colnaghi's Authentic Series', tinted lithograph, on wove paper, 560 x 1090 mm. (22 x 42 7/8 in), vertical folds with some repaired splitting, surface dirt, spotting and browning, unframed, Goupil & Co. and Colnaghi, 1854; together with a further ten views of the Crimean War, battles and sieges, including a view of Sebastopol after Telbin, the 1854 bombardment of Odessa after R. Twopeny, another of the same after Dutton, these and the others all published by Day & Son, circa 1854, tinted lithographs, on wove paper, from 270 x 420 mm. (10 5/8 x 16 1/2 in) to 550 x 950 mm. (21 3/4 x 37 1/2 in), folds and handling creases, occasional spotting, surface dirt and light browning, all unframed, [circa 1854], (12).
Los 44
NO RESERVE Sporting Art and Topography.- A large and varied group of prints, including Pollard's 'Wood-Cock Shooting' after Alken, plates 1 and 2 or 'Going Out' and 'Breaking Cover' by Sutherland after Dean Wolstenholme, three Currier & Ives prints of fishing and country estates, a large lithograph of 'The Death' by J. West Giles after John Frederick Herring Snr., 1854, and with a mixed group of topographical and mixed interest prints including a mezzotint portrait of George Stephenson after Lucas, an excellent impression of the Buck's 'East Prospect of Birmingham in the County of Warwick', with fine hand-colouring, 23 plates from Demidoff's 'Voyage dans la Russie meridionale et la Crimee', and a large group of approx. 65 others, engravings, etchings, lithographs, some hand-colouring, various sizes, largest 700 x 940 mm. (27 1/2 x 37 in), occasional surface dirt, browning, handling creases, some nicks and tears, all unframed, [mainly 19th century], (approx. 75).
Los 60
NO RESERVE Pratt (Anne) The Ferns of Great Britain, second edition, 41 colour plates, illustrations, occasional scattered spotting, modern cloth backed boards, [1860] § Lowe (E.J.) & W. Howard, Beautiful Leaved Plants, 60 colour lithograph plates, illustrations, 4 loose leaves, 1 tear, 1 small area of loss, light spotting, original cloth, faded and rubbed, 1865; and another, similar, 8vo (3)
Los 92
NO RESERVE Maritime.- Paton (Richard), After. The distressed situation of the Quebec (when on Fire) & the Surveillante a French Ship of War, etching and engraving, by Fittler and Lernpiniere, on laid paper with indistinct text based watermark, platemark 495 x 605 mm. (19 1/2 x 23 3/4 in), small margins, central vertical fold, some nicks and tears to margins, spotting, surface dirt and light browning, unframed, John Boydell, 1780 § Mortier (Pierre) and Hubert Jaillot, Publishers. Three maritime plates from 'Le Neptune François, ou Atlas Nouveau des Cartes Marines ...', engravings with hand-colouring, on laid paper, without watermarks, each sheet approx. 510 x 635 mm. (20 x 25 in), some light spotting, browning and surface dirt, all unframed, [Paris and Amsterdam, 1693-1700]; and together with Francis Jukes' 'The Essex East Indiaman' aquatint with hand-colouring, a hand-coloured lithograph by John Christian Schetky (1778-1874) of a Man-O'War, another by Henry Shields, and Harris's 'Yachting. Scene off Cowes, Isle of Wight' from Fores's Marine Sketches, various sizes, all unframed, [18th and 19th century], (8).
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70553 Los(e)/Seite