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315264 Los(e)/Seite
Los 101
* Herring (Joseph F. Snr.). Four Hunting prints, Vincent Brooks Ltd, circa 1880, four lithographs with contemporary hand-colouring, each image laid on contemporary card (as published), one print with slight browning and one with a short repaired marginal tear, each approximately 175 x 265 mm, uniformly mounted, framed and glazedQty: (4)
Los 109
* Marine Views. Wright (Bert). London and the Thames, Castlebar Graphics, 1996, coloured photolithograph, titled, signed and numbered in pencil by the artist, limited edition 332/850, 425 x 620 mm, mounted, together with Hanfstaengl (Franz). The Pool of London, circa 1900, hand-coloured photogravure, some mount staining and toning, 445x 640 mm, mounted, with Whishaw (Alexander Y.). Ocean Liner leaving Liverpool, circa 1920, coloured etching, signed in pencil by the artist to the lower right, 415 x 545 mm, mounted, plus Smitheman (S. F.). The SS Great Britain arriving at Liverpool from Australia in 1861, circa 1990, colour print, signed in pencil by the artist to the lower right, limited edition 70/250, 385 x 555 mm, mounted, and The Cutty Sark in the South China Sea, 1872, SS Great Britain arriving in New York on her Maiden Voyage, 1845 [and] SS Great Britain on her first Australian voyage, Hobson's Bay, Melbourne, 1852, together three colour prints, each signed by the artist in pencil to the lower right, each a limited edition of 59/500, 67/500 & 70/500 respectively, each approximately 375 x 540, two mounted, together with another eight 20th century colour prints of marine and civil engineering views, various sizes and conditionQty: (15)
Los 114
* Payne (Charlie Johnson 'Snaffles'). John Jorrocks Esq. M. F. H. "Tell me a man's a fox hunter and I loves 'im at once" 1923, colour lithograph finished with bodycolour, snaffle bit blind stamp, signed by the artist in pencil to the lower right, uncoloured remarque of a huntsman watching a fox trot across a ride, several repaired closed tears to the lower margin, margins appear to have been overpainted and the title re-written in pencil, overall size 385 x 420 mm, framed and glazed, together with A Sight to take Home and Dream about - But old Jorrocks would have had it - "They were nasty jealous steeple-chasin' little hussies" Fores Ltd [1950], colour photolithograph, uncoloured remarque of two lady point - to - pointers riding a close finish, signed in pencil by the artist to the lower left, faint marking to left-hand margin, overall size 500 x 630 mm, with another framed and glazed example of the same print, somewhat faded, and 'blued'Qty: (3)
Los 122
* Summers (W.). This print of the Grand Review which took place in Hyde Park on Monday 9th July 1838, in the Presence of her Most Gracious Majesty Victoria, J. Salisbury, circa 1838, hand-coloured aquatint after W. Heath, trimmed to the image on three margins, one repaired closed tear affecting image, two small holes to image, 460 x 520 mm, mounted, framed and glazedQty: (1)
Los 127
* Wyllie (William Lionel, 1851 - 1931). Brig under Fire, uncoloured etching, signed by the artist in pencil to the lower left, 185 x 225 mm, mounted, framed and glazed, together with Phillips (Paul). Red-throated Diver, 1989, uncoloured etching, signed and dated by the artist in pencil to the lower right, 155 x 170 mm, mounted, framed and glazed, with Blundell (A. G.). The Pool, circa 1900, uncoloured etching, titled and signed by the artist in pencil below the image, 115 x 165 mm, mounted, framed and glazed, plus Watson Turnbull (A.). Outward Mills, Surrey, circa 1920, uncoloured etching, titled and signed by the artist in pencil below the image, 205 x 275 mm, mounted, framed and glazed, and Millais (J. G.). Golden Eagle, circa 1910, uncoloured print, 200 x 305 mm, mounted, framed and glazedQty: (5)
Los 136
* Attributed to Giovanni Battista Ray (1881-1982). Enrico Caruso, 1920, pen and ink caricature of the opera singer painting a self-portrait, signed 'Ray' bottom right, 26.5 x 21.5 cm mount aperture, framed and glazed, frame size 41 x 33 cm, together with Francesco Tamago, pen and ink caricature, signed 'Ray' lower right, 28 x 21.5 cm mount aperture, framed and glazed, frame size 41 x 33 cm, plus a framed print of a playbill titled "My Cousin Caruso", with printed date of 1909, signed by Christabel Aurora Nicholls? top right, 35 x 26.5 cm, framed and glazedQty: (3)
Los 250
Hitler (Adolf). Mein Kampf, 'Gauleiter edition', Munich: NSDAP, circa 1940, enlarged facsimile single-volume reprint of the 2 volume 1st edition of 1925-27, thick laid paper (no watermarks), half-title slightly toned, all leaves disbound & would make for a good binding copy, folioQty: (1)NOTESProduction numbers of this 'Gauleiter' edition are not known but the print run is believed to have been about 50, the intended recipients of these gifts being Gauleiters and Reichsleiters, the two highest administrative positions in the Third Reich
Los 310
* Vinyl Records. "Museum of Consciousness" by Shpongle, rare Limited Edition gatefold double LP with unusual lenticular / 3D cover, was only available direct from the Shpongle website at the time of release in 2013 and now out-of-print (Twisted Records, TWSLP45), excellent condition, together with Shpongle "Live in London" DVD from 2015 and a Museum of Consciousness official T-shirt (Large)Qty: (3)
Los 368
After Karel Dujardin A Savoyard boy playing a violin Etching 16.7 x 12.2cm; 6½ x 4¾in (plate) Together with Continental School 19th Century; Study of an ornamental ceiling; pencil; 28.2 x 19.7cm; 11 x 7¾in; Edward Croft-Murray (1907-1980); Duetto for Young Serpent and Gouty Violin; Figures at a ball; two, the former inscribed with title; both pen and ink; each 14 x 8.8cm; 5½ x 3½in; Rowland Emett (1906-1990); Just Like Them to Go and Spoil the Amenities with a Block of Flats; signed and inscribed To Captain & Mrs Whitford Hawkes/with best wishes from/Rowland Emett (lower left); reproduction print; 22.6 x 28.6cm; 9 x 11¼in; Francesco Bartolozzi (Italian 1728-1815) after Henry Edridge (1768-1821); Portrait of Colonel Stanley; stipple with hand-colouring; 15.5 x 11.5cm; 6 x 4½in; and Manner of Thomas Lawrence; Portrait of a lady; reproduction print 27.1 x 20.4cm; 10¾ x 8in (unframed) (7) Provenance: From the collection of Edward Croft-Murray (1907-1980)
Los 404
Philip James de Loutherbourg RA (French 1740-1812) Interior of a prison cell with a guard and prisoner Pencil and grey wash 25.1 x 17.3cm; 10 x 6¾in Provenance: From the collection of Edward Croft-Murray (1907-1980) This work relates to a print attributed to de Loutherbourg in the British Museum (inv. no.1875,0410.126), the engraved text of which identifies the prisoner as Monsieur de Rouvre, imprisoned for having been 'faithful to God and his King'.
Los 42
λEnglish School 19th Century Portrait miniature of Henry Leach of Corston, Pembrokeshire, in uniform Oval, in an ebonised rectangular frame 72 x 57mm Together with an over-painted print of Mrs Henry Leach wearing a black dress, and white bonnet; oval in a rectangular ebonised frame; 70 x 58mm; and a pair of over-painted prints of Major General and Mrs Edmund Leach; each oval in silver gilt George Sumner frames; both 65 x 50mm (4)
Los 664
Stephen Lewis with Bob Cowper. Chasing Shadows.- A Wartime Biography of Australian Air Ace Squadron Leader Bob Cowper DFC + BAR. A WW2 First edition paperback book, Signed. Signed by Stephen Lewis and Bob Cowper on title page. Printed and bound by Digital Print Australia of Adelaide. spine in good condition. 166 pages with black and white images/photos. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99
Los 681
Tony Holmes. Spitfire VS Bf 109 - Battle of Britain. A WW2 First Edition paperback book, Signed on first page by Battle Of Britain Pilots Peter Ayerst, John Ellacombe, Rodney Diran Scrase DFC and one other. Printed by World Print Of China. Spine and cover in near mint condition. 80 pages with colour and B/W images/Illustrations. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99
Los 136
§ BRUCE MCLEAN (SCOTTISH 1944-) ORANGE FACE, 1984 Oil on paper(69cm x 48cm (27in x 19in))Footnote: Note: Bruce McLean’s distinctive, irreverent practise is hard to pigeon-hole and his multi-disciplinary approach attests to this, with the artist noted for his work across the mediums of painting, print-making, sculpture and performance. An alumni of the Glasgow School of Art and Central Saint Martins, McLean’s impact on the artworld was immediate and has proved long-lasting. At the tender age of just 27, McLean had a solo exhibition at the Tate Gallery in London before going on to teach art, most notably becoming Head of Painting at the Slade School of Fine Art. His teaching practise and forthright, colourful approach to his own work has influenced subsequent generations of British artists.Lyon and Turnbull are delighted to offer some rare to market early career works by this enigmatic figure. They were painted in McLean’s garage studio in Barnes during the period between the spring of 1983 and 1984 after McLean had returned from some time in Berlin. He found the space and the domestic situation around it immediately congenial and it was close enough to home for him to work in a way that suited his temperament; at odd times of the day or night, unpredictably and spontaneously.These pieces were part of a body of paintings that have a marked stylistic unity. Though his work is characterised by a sense of fun and approachability, it is in fact frequently underpinned by political discourse, stemming directly from a belief in the centrality of art to the development of human consciousness and to social and domestic well-being. For example, in the case of Lot 136, we see one of his recurring motifs from this era of his work; the stepladder, with its connotations of social ascent and descent. These garage paintings are notable for their extreme economy of means, directness of address, stark simplicity of style, gestural vehemence and passionate indignation.In 1985, photographer Alastair Thain published his photobook ‘Skin Deep’, the aim of which was to “offer an exploration of modern celebrity and myth”. The image here aims to tap into and capture the wit and irony with which McLean’s work often sought to lampoon, as well as more seriously question, the workings of the art world. Here, in typical style, we find him playfully subverting the trope of the ‘traditional’ portrait. Fellow artists also shot by Thain include Joseph Beuys, Andy Warhol and Francis Bacon
Los 138
§ BRUCE MCLEAN (SCOTTISH 1944-) SELF-PORTRAIT Oil on paper(51cm x 40cm (20in x 15.75in))Footnote: Note: Bruce McLean’s distinctive, irreverent practise is hard to pigeon-hole and his multi-disciplinary approach attests to this, with the artist noted for his work across the mediums of painting, print-making, sculpture and performance. An alumni of the Glasgow School of Art and Central Saint Martins, McLean’s impact on the artworld was immediate and has proved long-lasting. At the tender age of just 27, McLean had a solo exhibition at the Tate Gallery in London before going on to teach art, most notably becoming Head of Painting at the Slade School of Fine Art. His teaching practise and forthright, colourful approach to his own work has influenced subsequent generations of British artists.Lyon and Turnbull are delighted to offer some rare to market early career works by this enigmatic figure. They were painted in McLean’s garage studio in Barnes during the period between the spring of 1983 and 1984 after McLean had returned from some time in Berlin. He found the space and the domestic situation around it immediately congenial and it was close enough to home for him to work in a way that suited his temperament; at odd times of the day or night, unpredictably and spontaneously.These pieces were part of a body of paintings that have a marked stylistic unity. Though his work is characterised by a sense of fun and approachability, it is in fact frequently underpinned by political discourse, stemming directly from a belief in the centrality of art to the development of human consciousness and to social and domestic well-being. For example, in the case of Lot 136, we see one of his recurring motifs from this era of his work; the stepladder, with its connotations of social ascent and descent. These garage paintings are notable for their extreme economy of means, directness of address, stark simplicity of style, gestural vehemence and passionate indignation.In 1985, photographer Alastair Thain published his photobook ‘Skin Deep’, the aim of which was to “offer an exploration of modern celebrity and myth”. The image here aims to tap into and capture the wit and irony with which McLean’s work often sought to lampoon, as well as more seriously question, the workings of the art world. Here, in typical style, we find him playfully subverting the trope of the ‘traditional’ portrait. Fellow artists also shot by Thain include Jospeh Beuys, Andy Warhol and Francis Bacon
Los 247
§ BARBARA RAE C.B.E., R.A., R.S.A., R.E. (SCOTTISH 1943-) HILLFORT Screenprint, 19/40, signed, titled and numbered in pencil(76cm (30in) diameter)Provenance: The Scottish Gallery, EdinburghFootnote: Exhibited: 'Print Exhibition - W. Barns-Graham, Elizabeth Blackadder, John Byrne, John Houston, Joan Miro & Barbara Rae,' The Scottish Gallery, Edinburgh - 8 July - 1 August, 2009.
Los 265
§ VICTOR PASMORE C.B.E., C.H. (BRITISH 1908-1998) WORLD IN SPACE AND TIME II - 1992 Etching and aquatint, 12/90, signed with initials, dated and numbered in pencil to margin(image size 49cm x 144cm (19.25in x 56.75in))Footnote: Note: Victor Pasmore didn’t move towards his signature abstract style until 1947, in a move the art historian Herbert Read described as ‘the most revolutionary event in post-war British art.’ In 1966 Pasmore re-located to Malta and it was in this same year that he began experimenting extensively with printmaking, starting with the 2RC printshop in Rome. From then on, printmaking became a significant part of his artistic practice and he worked with many important print studios, including Kelpra Studio and Curwen Press. With time, and this significant move to both warmer climes and into printmaking, Pasmore’s work softened and his hard-edged geometric forms gave way to more curving shapes and the wandering lines and areas of bold colour that we can see here in ‘World in Space and Time II.’ The resulting image is characterised by a simplicity and fluidity that evokes a strong sense of balance, even peacefulness, in juxtaposition to the dramatically large scale of the work.
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315264 Los(e)/Seite