Pieter Schenck A Lady at Confession mezzotint, on laid paper, c.1675-1719, with collector`s ink stamp of Louis Deglatigny verso [Lugt 1768], 250 x 185mm (9 3/4 x 7 1/4 in), [Hollsetin 431]; Magnus Pictor Inops, mezzotint, Ludolph Smids MD inscribed at lower right, indistinct collector`s stamp verso, 240 x 180mm (9 1/2 x 7 in), [see BM 1872,1012.914 for reverse impression] § Jan van Somer. 3 drinkers, mezzotint, c.1676, with collector`s ink inscription of S.Scheikevitch of Moscow verso [Lugt 2264], 265 x 220mm (10 1/2 x 8 3/4 in); with a portrait of lady wearing a feathered hat by Carel de Moor, mezzotint, 2nd state with letters, and two others including an oriental profile portrait (6) *** Pieter Schenck`s (1660-1718) `Lady at Confession` is a pirated reverse copy of the original mezzotint by the British engraver John Smith (1652-1743); Schenck protected himself against copying by adding a Dutch Priviledge to the print. [Antony Griffiths `The Print in Stuart Britain`, BM 1998]
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James Egan St. Michael`s Mount, Cornwall mezzotint, after C. Bentley, c.1853 or later, T. Boys, 590 x 705mm (23 1/4 x 27 3/4 in) § Thomas Lewis Atkinson, The Death, after Sir Francis Grant, 1874, with Printsellers` Association blindstamp, lower right, 610 x 760mm (24 x 30 in); with a reproduction of Rosenvinge`s Cunard R.M.Ss, Lusitania & Mauretania, all unframed (3) Condition report: Spotting, browning, with areas of damp-staining. The Atkinson print is rebacked with several tears.
James Ward Jem Wards Picture of the Great Fight between Tom Sayers & J.C. Heenan hand-coloured lithograph, c.1860, 540 x 890mm (21 1/4 x 35 in). *** James Ward (1769-1859), who prior to retiring in 1834, was a champion prize-fighter himself, depicts in this print the 1860 prize-fight for the Championship of England and America. The fight started at 7:30am, and lasted over 2 hours (a total of 42 rounds), despite the efforts of the Police who tried to stop the fight. At the end the referee declared the fight a draw, and both men received a championship belt for their heroism.
Erich Brauer Die Ölprobe lithograph printed in colours (G.158), signed in pencil, lower right, Vienna, Anton Schroll & Co., 395 x 615mm. (15 1/2 x 24 1/4 in). Condition report: A few surface abrasions, frame lacking glass, overmount adhered to print margins, well outside the image and signature.
Charles Herbert Arthur Chaplin ARE Stoat etching, signed in pencil, lower right, titled lower left, original backboard inscribed with artist`s address, title, and list of where exhibited, 110 x 215mm. (4 1/4 x 8 1/2 in). *** Exhibited: Royal Academy, Royal Society of Etchers and Engravers, Toronto, New York, and was the Print Collectors` Club print for 1950.
Herbert Thomas Dicksee A shepherd driving his flock etching with drypoint on vellum paper, signed in pencil lower left, initialled in the plate, also lower left with Printsellers Association blindstamp below, 1901, Frost & Reed, 520 x 660mm. (20 1/2 x 26 in); with a duplicate, and another signed Dicksee print, The Road to the Village, and Parting Ways, this unsigned, all unframed (4). Condition report: The first mentioned with some cockling, the duplicate with thin varnish overall and a few marginal defects at sheet edges, the third plate with a crease through the image, the unsigned plate with marginal browning.
Lawrence Stephen Lowry (1887-1976) THE CONTRAPTION, 1949 and CRIME LAKE (A PAIR) colour print; (2) each signed in pencil in the margin lower right; signed and dated in the plate lower right; also with publisher`s blind-stamp in the margin 29 by 30cm., 11.5 by 11.7 5in. Provenance:Whyte`s, 9 December 2006, lots 96 and 95 respectively; Private collection
20TH CENTURY SCOTTISH SCHOOL - Pencil and watercolour on paper, North Side of Canal Basin looking North, Edinburgh, indistinctly signed bottom right, Ross? and dated Monday the 29th August 1927, 13 1/2" x 10 1/4", together with a watercolour on paper of a landscape scene, signed bottom right possibly Lanaway? and a print entitled The Great Unknown
A LATE 18TH CENTURY PRINT of `Indolence Brings Misery and Industry Produceth Wealth` published 16th February 1796 by James & Son, No.19 Rolls Buildings, London, together with a quantity of other decorative pictures and prints to include two 18th Century French ornithological prints and others
* Russian School, circa 1921- designs for a book cover; gouache, pencil on paper, 35.8x27cm: together with a 20th Century drawing of machinery; pencil on paper, 27.1x19cm: E Maclet, 20th century- Man by houses; watercolour and felt tip pen on paper, signed verso, 24.6x32cm: together with a colour reproduction print after a different hand, 31x41cm., (unframed) (4)
* Attributed to Jean Aman, French 1907-1965- Portrait of a lady (recto) and (verso); pencil and coloured chalk on paper, 40x26cm: European School, c.1900- Portrait of a gentleman (head study); brush and black ink and wash on paper, 27x20cm: After Pierre-Auguste Renoir, French 1841-1919- Three muses and a man; reproduction print in sepia, 26.5x34.5cm., (unframed) (3)
Provenance: Lots 678-681 are from the estate of the artist. Bernard Green, British 1931-1998- Untitled, abstract figure of woman; oil on board, signed and dated `68, 69x121cm Note: Born in 1931, Bernard Green studied at Birmingham College of Art & Design. He was a painter, print maker and sculptor. His early paintings explored the use of line and colour, creating illusions of space using colour on flat surfaces. In 1977 he moved to Pembrokeshire in Wales where the landscape became a source of inspiration and where he started to explore themes based on his dream sequences, religion and the human condition. His work was exhibited at The Royal Cambrian Academy, The Royal Birmingham Society, Royal West of England Academy, the Royal Society of Painters Etchers & Engravers and at various gallery exhibitions in England and Wales. He became well known in Wales. He produced a series of embossed linocuts featuring views of Pembrokeshire and in the 1980s was commissioned by HM the Queen to produce a view of Caernarfon Castle as the subject for the Royal Telemessage. In 1986 he was artist in residence at the Graham Sutherland Gallery in Picton. His work is in various collections including HM the Queen, British Telecom, Lloyds Bank, Gulf Bank, Kuwait, National Library of Wales, Derby Museum, Haverfordwest Museum & Gallery, Scolton Manor Museum.
* After Georges Rouault, French 1871-1958- Femme Assise; varnished print laid down on cradled panel, 22 x 16cm: European School late 19th Century/Early 20th Century- Study of steps to a house (recto), 2 head studies (verso); oil on panel, 12.5 x 21.5cm: 2 booklets by Marcel Duchamp, Paris 1941, from an edition of 200, copyright by Georges Hugnet, 9.7x14.6cm:A booklet "Moralité du Sonmeil" by Paul Eluard with drawings by Rene Magritte no 42/50, published by L`Aiguille Aimantee, 18.3x13.7cm: A booklet with the poem `Booz Endormi` by Victor Hugo, published by Guy Lévis Mano in April 1964, number 223 from a limited edition of 390, 11.2x19cm (unframed) (6)
A 19th century Susani, embroidered with elephants and houdahs, prancing horses, people and peacocks. 201x112cm. A 19th century Indian cover in deep red, the border printed with scenes from a tiger hunt, two Manchester Persian print cotton shawls (AF) a 19th century Afghan patchwork Ikat window hanging 187x124cm. three other similar and a quantity of mainly Indian textiles including a brown woolen cover with extensive gold wirework embroidery. (lot) Provenance: The estate of the late Donald Simmonds (1933-2010)
* AMENDMENT: Does not contain a sampler but a PRINT of a sampler: A Victorian needlework style sampler on paper, depicting a man on horseback, width 27 cm, together with two copper plates, with a quantity of pictorial cards, with a white metal watch and two pairs of earrings, with a quantity of photographs, and pre columbian style ceramic face vessel, (a lot).
Portrait of Bijoychand Mahtab, Maharaja of Burdwan, F. Kopp & Co, Calcutta, India, c. 1890 albumen photographic print laid on card mount, the ruler seated with his courtiers Bijoychand ascended the throne of Burdwan at the young age of six in 1887 and ruled until 1941. 21.2cm high x 30cm wide Image somewhat faded, damage to mount, partially repaired on the reverse View on auctionatrium.com
Shepherd and Robertson, View of the Taj Mahal, Agra, India, circa 1865 albumen print laid on card, numbered 387 on the negative, two figures posing in front of the building in the foreground, inscribed 387 Ditto Centre Building only in pencil on the mount Shepherd and Robertson was the predecessor to the better known firm of photographer, Bourne and Shepherd. The former was founded in Agra in 1862 but with the change in name in 1866, the newly opened Calcutta branch became headquarters. 34cm high x 27.4cm wide Slight fading, especially around edges, one or two marks to print and negative, slight losses to mount View on auctionatrium.com
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