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Click here to subscribeFull title: Valerius De Saedeleer (1867-1942) and Jean De Cooman (1893-1949): An animated winter landscape, etching, ed. 23/50, dated 1934Description:Work: 59 x 50,5 cm Paper: 61 x 54,5 cm Frame: 81 x 75,5 cmWork: 45,5 x 39,5 cm Paper: 50,5 x 45,5 cm Frame: 65 x 59,5 cm Added: Valerius De Saedeleer (1867-1942) and Roger Hebbelinck (1912-1987): A winter landscape, etching, ed. 298/350. Printed by Dietrich and Cie, Editeurs - Bruxelles.
Title: Albert Baertsoen (1866-1922): Evening on the dune, Mariakerke-aan-Zee, oil on canvas, ca. 1892Description:Work: 145,5 x 208,5 cm Frame: 152,5 x 217 cm Albert Baertsoen (1866-1922) and James Ensor (1860-1949) were close acquaintances. Baertsoen spent the summers in his spacious 'Villa des Hirondelles' on the seawall and he fully participated in society life in the seaside town. The personal contacts between Ensor and Baertsoen date from 1887 or perhaps earlier, because in 1887 Baertsoen was presented by Ensor with a copy of his etchings 'Le Christ apaisant la tempête' and 'Le verger', the latter with the dedication 'A mon ami Baertsoen, James Ensor 87', which suggests earlier contacts. Later Ensor also gave him a copy of 'Barques echouees'. Both artists were intensely involved with graphics at that time. The slightly older Ensor was probably a stimulating example for Baertsoen, and in any case a source of inspiration. Baertsoen's powerful and virtuoso painted seascapes from that period bear traces of Ensor's art, and he certainly also took a good look at his important etching 'Grande vue de Mariakerke' from 1887, the similarities with this canvas 'Avond op het duin' clearly indicate this. In 1889-1890 Baertsoen would make the church of Mariakerke twice the subject of an etching. One of them was published in 1890 under the title 'Village de Mariakerke' in the third album of the 'Societe des aquafortistes belges' (Brussels, 1890). In this 'Avond op het duin, Mariakerke-aan-Zee', drenched in soft light, Baertsoen shows the dune village at the moment when the evening sun illuminates the gables and the tower of Onze-Lieve-Vrouw-ter-Duinenkerk and the dunes are covered by shadows. When around 1894 the entire site was threatened with demolition as a result of the expansion of Ostend, James Ensor and Albert Baertsoen successfully took on the defense of the dune church. It was restored and later protected as a monument. We would like to thank Prof. dr. Rene Vermeir for this description and additional information (link). Provenance: - Ex-collection Albert Ceuterick, Ghent. - Ex-collection Thermae Palace, Ostende. - Ex-collection De Pesseroey, Deurle. - Private collection, Belgium. Ref.: - The painting has been exhibited at various locations: The Hague (1892), Ghent (1892), Namur (1892), Berlin (1893), Paris (1894), Ghent (1925), Ghent (1972), Vinkem (1984), Hondschoote-Vinkem (2004) and Ghent (2022). - Rene Vermeir, Catalogue raisonne Albert Baertsoen, P.1892/11 (link).
Title: Albert Baertsoen (1866-1922): The Speelmansrei in Bruges, study IV, oil on canvas, early 20th C.Description:89 x 51,5 cm This painting is a well-developed study for the large canvas 'De Speelmansrei in Brugge, septemberlucht' ('Le Quai des Menetriers à Bruges, ciel de septembre'), which Albert Baertsoen presented to the public in 1905. Shortly afterwards it was acquired by the current Groeninge Museum in Bruges, where it is still located. At a young age, Baertsoen was fascinated by Bruges, the faded medieval trading metropolis. He saw with regret how the old, patinated cities in Flanders had to give way to modernity, but in Bruges he still found the authentic past. In cityscapes such as these, Baertsoen expressed the elusive sadness he experienced at the end and transition. Art critics soon picked up on this characteristic feature of his art and increasingly associated it with the theme of la ville morte, a concept he was able to popularize at the end of the 19th century together with the successful author Georges Rodenbach. The Speelmansrei in Bruges is one of Baertsoen's works with a strong symbolic slant. The reflections in the rippleless canal water naturally invite reflections on appearance and reality. The unique framing with a high horizon also emphasizes the water surface. A few years after the death of Albert Baertsoen, this study was donated by his son Jean A. Baertsoen to the Ghent lawyer Albert Ceuterick. He was one of the directors of the textile company Baertsoen and Buysse and was very close to the Baertsoen family. Shortly before his death in 1922, Albert Baertsoen had appointed him as executor of his will. Ceuterick mentions this work in a letter dated January 26, 1930 and kept in the Ghent university library, addressed to the Ghent art critic Frederic de Smet. In it he talks about the oeuvre of his late friend Baertsoen, and he notes, among other things, that he (Ceuterick) "... possede en outre une esquisse, tres poussee, d'un quai à Bruges, non signee ni datee. Cette oeuvre m'a ete offer par Madame Baertsoen, mere, et M. Jean Baertsoen, en ma qualite d'executeur testamentaire". Based on this study, Albert Baertsoen made an etching that bears the number E.1905/03 in the catalogue raisonne of his oeuvre (link). With a certificate from Jean A. Baertsoen, son of the artist (January 1927). We would like to thank Prof. dr. Rene Vermeir for this description and additional information (link). Provenance: - Ex-collection Albert Ceuterick, Ghent. Ref.: - Rene Vermeir, Catalogue raisonne Albert Baertsoen, P.1905/08 (link).
A boxed Xezo Legionnaire cartridge/ converter Fountain pen and ballpoint pen set. Limited Edition fountain pen 335/500 and ballpoint 168/2020. Paying tribute to modern French history, this Xezo model is named after legionnaires, members of the French Foreign Legion. Elements of this series’ design was inspired by the standards of Roman legions and the famous motto “SPQR”, or “Senatus Populusque Romanus”, meaning “The Senate and People of Rome”. Each pen is made of solid brass. The octagonal surface of each pen has “diamond cut” engraving and fine hand etching on 4 sides. The surface of each pen is layered with .999 pure platinum and 18k gold-plated fittings. In as new condition with booklet and converter
ANTHONY GROSS (BRITISH 1905-1984) ARR. SEGOS.2/2 2nd STATE TRIAL ETCHING, SIGNED AND TITLED IN PENCIL. 42.5 X 32 cm. Condition of lots is NOT referred to in the lot descriptions.The absence of a condition report does NOT indicate that the lot if free from damage.Detailed condition reports and additional images are available on all lots upon request, please use the “ask a question” button against the lot you have an interest in. We strongly advise that unless you are able to view the lots in person that you request all of the details you feel may be pertinent to your intention to bid.
VALERIE THORNTON (1931- 1991) ARR. MOSAIC, COLOUR ETCHING. LIMITED EDITION No 6/50 SIGNED LOWER RIGHT. 22.5 X 35 cm. Condition of lots is NOT referred to in the lot descriptions.The absence of a condition report does NOT indicate that the lot if free from damage.Detailed condition reports and additional images are available on all lots upon request, please use the “ask a question” button against the lot you have an interest in. We strongly advise that unless you are able to view the lots in person that you request all of the details you feel may be pertinent to your intention to bid.
ROLAND BATCHELOR (1889-1990) ARR. STUDY OF A MAN WITH HAT. ETCHING. PENCIL SIGNED. UNFRAMED SHEET SIZE 22 X 29 cm. Condition of lots is NOT referred to in the lot descriptions.The absence of a condition report does NOT indicate that the lot if free from damage.Detailed condition reports and additional images are available on all lots upon request, please use the “ask a question” button against the lot you have an interest in. We strongly advise that unless you are able to view the lots in person that you request all of the details you feel may be pertinent to your intention to bid.
GERALD BROCKHURST (1890-1978) STYLING THE HAIR. ETCHING. SIGNED IN THE PLATE. 16 X 20 cm. Condition of lots is NOT referred to in the lot descriptions.The absence of a condition report does NOT indicate that the lot if free from damage.Detailed condition reports and additional images are available on all lots upon request, please use the “ask a question” button against the lot you have an interest in. We strongly advise that unless you are able to view the lots in person that you request all of the details you feel may be pertinent to your intention to bid.
CHRISTINA AMARGER (B.1935) ARR. MRS STRADIVARIUS, COLOUR ETCHING, PENCIL SIGNED, TITLED AND NUMBERED 15/99 56 X 75 cm TOGETHER WITH COMPANION WORK MRS MOZART, SIGNED AND NUMBERED 15/99. AND ANOTHER UNTITLED SIGNED EXAMPLE. (3) Condition of lots is NOT referred to in the lot descriptions.The absence of a condition report does NOT indicate that the lot if free from damage.Detailed condition reports and additional images are available on all lots upon request, please use the “ask a question” button against the lot you have an interest in. We strongly advise that unless you are able to view the lots in person that you request all of the details you feel may be pertinent to your intention to bid.
WINIFRED PICKARD ( 1908-1996) ARR. LILLIES. COLOUR ETCHING. SIGNED TITLED AND NUMBERED IN PENCIL 55/75. 32 X 24 cm. Condition of lots is NOT referred to in the lot descriptions.The absence of a condition report does NOT indicate that the lot if free from damage.Detailed condition reports and additional images are available on all lots upon request, please use the “ask a question” button against the lot you have an interest in. We strongly advise that unless you are able to view the lots in person that you request all of the details you feel may be pertinent to your intention to bid.
SIR FRANK BRANGWYN-( 1867-1957) - BREAKING UP OF THE CALADONIA, PENCIL SIGNED ETCHING C.1906. 80 X 54 cm. Condition of lots is NOT referred to in the lot descriptions.The absence of a condition report does NOT indicate that the lot if free from damage.Detailed condition reports and additional images are available on all lots upon request, please use the “ask a question” button against the lot you have an interest in. We strongly advise that unless you are able to view the lots in person that you request all of the details you feel may be pertinent to your intention to bid.
ALPHONSE LEGROS (1837-1911). LE BAPTEME (THE CHRISTENING/BAPTISM). ETCHING. 28 X 22 cm. TOGETHER WITH CHARITY, ETCHING BY THE SAME HAND. 17 X 21 cm. (2) Condition of lots is NOT referred to in the lot descriptions.The absence of a condition report does NOT indicate that the lot if free from damage.Detailed condition reports and additional images are available on all lots upon request, please use the “ask a question” button against the lot you have an interest in. We strongly advise that unless you are able to view the lots in person that you request all of the details you feel may be pertinent to your intention to bid.
GUNTER SCHOLLKOPF (1935-1979) ARR. THEMES FROM SHAKESPEAR. ETCHING PENCIL SIGNED AND NUMBERED 60/100 AND DATED '63. 35.5 X 40 cm. Condition of lots is NOT referred to in the lot descriptions.The absence of a condition report does NOT indicate that the lot if free from damage.Detailed condition reports and additional images are available on all lots upon request, please use the “ask a question” button against the lot you have an interest in. We strongly advise that unless you are able to view the lots in person that you request all of the details you feel may be pertinent to your intention to bid.
** LAIDLAW? (EARLY 20TH CENTURY) TOWER BRIDGE LONDON & PICCADILLY CIRCUS. ETCHINGS. PENCIL SIGNED INDISTINCTLY AND INSCRIBED. TOGETHER WITH A FURTHER ETCHING BY A DIFFERENT HAND. (3) Condition of lots is NOT referred to in the lot descriptions.The absence of a condition report does NOT indicate that the lot if free from damage.Detailed condition reports and additional images are available on all lots upon request, please use the “ask a question” button against the lot you have an interest in. We strongly advise that unless you are able to view the lots in person that you request all of the details you feel may be pertinent to your intention to bid.
HANS GEORG RAUCH (1939-1993) ARR. SKELETAL SAILING VESSELS, ETCHING. PENCIL SIGNED LIMITED EDITION 100/100 UNFRAMED. IMAGE SIZE 29 X 25 cm. TOGETHER WITH THREE SILVERED EXHIBITION POSTER PRINTS FOR THE SAME ARTIST. (4) Condition of lots is NOT referred to in the lot descriptions.The absence of a condition report does NOT indicate that the lot if free from damage.Detailed condition reports and additional images are available on all lots upon request, please use the “ask a question” button against the lot you have an interest in. We strongly advise that unless you are able to view the lots in person that you request all of the details you feel may be pertinent to your intention to bid.
FRANK LEWIS EMANUEL (1865-1948) RUSTIC FIGURES ON A PATH, ETCHING ,PENCIL SIGNED. 25 X 18 cm TOGETHER WITH FURTHER ETCHINGS INCLUDING M M. RUDGE, FOZARD, McDOWALL, MACLAUGHLAN AND OTHERS. (8) ALL UNFRAMED. Condition of lots is NOT referred to in the lot descriptions.The absence of a condition report does NOT indicate that the lot if free from damage.Detailed condition reports and additional images are available on all lots upon request, please use the “ask a question” button against the lot you have an interest in. We strongly advise that unless you are able to view the lots in person that you request all of the details you feel may be pertinent to your intention to bid.
JEAN SOLOMBRE ( B. 1948) ARR. " LE JARDIN...??" COLOUR ETCHING. SIGNED L/R AND TITLED INDISTINCTLY . LTD EDITION No..33/100. 40 X 40 cm. Condition of lots is NOT referred to in the lot descriptions.The absence of a condition report does NOT indicate that the lot if free from damage.Detailed condition reports and additional images are available on all lots upon request, please use the “ask a question” button against the lot you have an interest in. We strongly advise that unless you are able to view the lots in person that you request all of the details you feel may be pertinent to your intention to bid.
MICHAEL OELMAN (B.1941) JACOBS LADDER II , SACRED TREE. ETCHING. PENCIL SIGNED TITLED AND NUMBERED 81/55 . (C.1974) 48 X 51 cm Condition of lots is NOT referred to in the lot descriptions.The absence of a condition report does NOT indicate that the lot if free from damage.Detailed condition reports and additional images are available on all lots upon request, please use the “ask a question” button against the lot you have an interest in. We strongly advise that unless you are able to view the lots in person that you request all of the details you feel may be pertinent to your intention to bid.
R.L. ARMITAGE (1898-1972) ARR. EARLGATE- CHESTER, ETCHING. PENCIL SIGNED AND TITLED TOGETHER WITH VARIOUS FURTHER ETCHINGS BY MARTIN JOHNSTON, DOROTHY WOOLLAND, AND OTHERS.(10) Condition of lots is NOT referred to in the lot descriptions.The absence of a condition report does NOT indicate that the lot if free from damage.Detailed condition reports and additional images are available on all lots upon request, please use the “ask a question” button against the lot you have an interest in. We strongly advise that unless you are able to view the lots in person that you request all of the details you feel may be pertinent to your intention to bid.
T.J. GREENWOOD (20TH CENTURY) GREY SEAL (ISLAY). ARTIST PROOF ETCHING, PENCIL SIGNED AND TITLED TOGETHER WITH TWO FURTHER ETCHINGS OF RICARDA HUCH, SIGNED INDISTINCTLY, A COLOUR ETCHING BY JANE CUMMINGS AND ONE OTHER SIGNED R.C. PELOT? (5) Condition of lots is NOT referred to in the lot descriptions.The absence of a condition report does NOT indicate that the lot if free from damage.Detailed condition reports and additional images are available on all lots upon request, please use the “ask a question” button against the lot you have an interest in. We strongly advise that unless you are able to view the lots in person that you request all of the details you feel may be pertinent to your intention to bid.
MELVYN PETERSON (B.1947) ARR. "JAKE" STUDY OF A SLEEPING CAT, ARTIST PROOF ETCHING. SIGNED AND TITLED AND WITH LETTER FROM THE ARTIST VERSO. 22 X 12 cm. Condition of lots is NOT referred to in the lot descriptions.The absence of a condition report does NOT indicate that the lot if free from damage.Detailed condition reports and additional images are available on all lots upon request, please use the “ask a question” button against the lot you have an interest in. We strongly advise that unless you are able to view the lots in person that you request all of the details you feel may be pertinent to your intention to bid.
After George Cruikshank (British, 1792-1878) Four social caricature engravings from 'Pierce Egan's Life in London', published by Sherwood, Nealy and Jones, 1821, aquatint etching on woven paper, drawn and engraved by IR and G Cruikshank, 28 x 34 cm overall [Life in London', was, like Hogarth's series, a humorous and candid account of the sordid side of life in the capital. Following the fictional exploits of Jerry Hawthorn, his 'elegant' friend, Corinthian Tom and the comically uncouth Bob Logic, the three engage in pursuits such as cock and dog fighting, gambling, drinking, fighting and rioting, amongst other debauchery. Whilst produced as light hearted, the intention was to warn against fast living]
Terry FROST (1915-2003) Escargot, 1991 Etching with aquatint and with hand colouring, signed and dated '91, numbered 12/25, Flowers East label to verso, plate size 38x51.5cm, paper size 58.5x75cm, overall size 63x82.5cm. Kemp 125This work is in excellent bright condition. There is no foxing, staining or other defect
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