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Lot 134
Eileen Alice Soper (1905-90), The Race, drypoint etching signed in pencil by the artist, 12cm x 19cm (Please note condition does not form part of the catalogue description. We strongly advise viewing to satisfy yourself as to condition. If you are unable to view and a condition report is not already available, please request one and it will be provided in writing).
Lot 77
James Gillray (1757-1815), Homer singing his verses to the Greeks, aquatint etching, published 1797 by Humphry, 27cm x 34cm; also Thomas Rowlandson, The huntsman rising, aquatint etching, 16cm x 23cm; and Henry Alken, Illustrations to popular songs, published by Thomas McLean, 22.5cm x 28cm (3) (Please note condition does not form part of the catalogue description. We strongly advise viewing to satisfy yourself as to condition. If you are unable to view and a condition report is not already available, please request one and it will be provided in writing).
Lot 259
A British 1796 Pattern Heavy Cavalry Officer's Dress Sword, the 83cm double edge tapering steel blade with a central narrow fuller to each side, faintly etched with Royal coat of arms, crossed standards, foliage and OSBORN WARRANTED within a scroll, the gilt brass stirrup hilt with boat shape guard, ribbed wood grip and baluster pommel, lacks scabbard, 101cm; an Ornamental Sword, with plain 75cm double edge steel blade, bronze hilt with recurving crossguard and loop guard bar, ribbed wood grip and plain pommel, lacks scabbard, 91.5cm (2)Cavalry sword with very dark blade and faint etching. Grip lacks wire binding. Wear to gilding .
Lot 39
Pauline Bradley (b.1944) Alison, artist proof, signed and dated 91 lower right in pencil, etching, 23.5cm x 18.9cm (PL), frame 39cm x 31.5cm, along with 'Vu in the Shade', Var I, signed and dated 2015 lower right, numbered 1/4, etching and lithograph by the same hand, 19cm x14cm (PL), frame 30.5cm x 25.5cm (2)
Lot 71
ARR Rowena Pearce (Contemporary) Water in Tumult, initialed in pencil lower left, dated 1989 on the back, monoprint with oil, 36cm x 34.8cm (SH), frame 53.6cm x 57.8cm, together with Rachel Kantaris (Australian, b.1967) Lambada La Paz, signed lower right in pencil, numbered 12/12, etching, 24cm x 55.7cm (PL), frame 49cm x 79.7cm (2)
Lot 38
ARR John Emanuel (British, 1930-2024) Nude Study, etching in colours, 40cm x 26.5cm, 65cm x 51cm frameProvenance: private collection, purchased from John Boulton Fine Art Condition:The print is a work on paper, framed under glazing- not examined external to the frame. The sheet appears in good order, no obvious tears, creasing or losses. There is some very minor cockling. The colours are good and appear stable. There is some mould spores on the mount which does not appear to have extended into the main area of the image. Minor wear and tear to the frame.
Lot 464
AFTER JOHN BRUNSDON "Walberswick" limited edition coloured etching, No'd 10/150, signed, titled and No'd in pencil to the lower margin, 26 cm x 63 cm together with AFTER JOHN BRUNSDON "Stradbroke Church" limited edition coloured engraving No'd 38/125, signed, titled and No'd in pencil to the lower margin, 78 cm x 55 cm (2) CONDITION REPORTS "Walberswick" - glass is in need of a clean. There is some foxing/insect damage to the top corners of the etching. Frame is a bit battered, some gapping at the bottom. "Stradbroke Church" - glass is in need of a good clean. The print itself has a very small amount of browning on the top left hand corner. Frame has knocks and bumps. Otherwise general wear and tear conducive with age and use. AFTER because they are effectively prints and probably not done by John Brunsdon himself even though he has titled, numbered and signed them in pencil himself as he hasn't printed them himself, therefore AFTER and not BY (although the original work would have been by him)
Lot 465
AFTER JOHN BRUNSDON "Farm", limited edition coloured etching No'd 16/100, signed, titled and No'd in pencil to the lower margin, 25 cm x 32 cm together with AFTER JOHN BRUNSDON "Mullion Cove" limited edition coloured engraving No'd 1/50, signed, titled and No'd in pencil to the lower margin, 35.5 cm x 50 cm and AFTER JOHN BRUNSDON "View from the Campanile" limited edition coloured engraving No'd 65/150, signed, titled and No'd in pencil to the lower margin, 78 cm x 56 cm
Lot 463
AFTER JOHN BRUNSDON "Pastoral scene" limited edition colour print No'd 106/150, signed, titled and No'd to the lower margin, 43 cm x 49 cm together with AFTER JOHN BRUNSDON "Tangled grasses", colour etching, artist's proof No'd 1/15, signed, titled and No'd in pencil to the lower margin, 78 cm x 54.5 cm (2) CONDITION REPORTS "Pastoral scene" the mounts have some cuts to the edge of the corners presumably where cut when being made. There is a bit of damage to the frame. The print itself however has general wear and tear conducive with age and use. "Tangled grasses" print has general wear and tear, there is a small mark right at the very bottom. Frame has some gapping and knocks etc - see images for more details
Lot 332
Fine Print of the Year: An Annual Review of Contemporary Etching and Engraving 1923-1928, 4to, Halton & Truscott, Smith Ltd; together with an almost complete run of The Print Collectors Quarterly, from 1921 to 1935; The Print Collector Quarterly Complete Index 1911-1950; and Print Quarterly December 1995, one box.
Lot 336
A selection of hardback books relating to etching, titles including: Salaman (Malcolm C.), The Etchings of Sir Francis Seymour Hayden, folio, quarter calf, Halton and Truscott Smith Ltd., 1923; Black (Jonathan), C. R. W. Nevinson: The Complete Prints, large 4to., cloth, Lund Humphries, 2014; Dodgson (Campbell), A Catalogue of Etchings by Augustus John 1901-1914, large 4to., cloth, Charles Chenil and Co., Ltd., 1920; Hardie (Martin), The Etched Work of W. Lee-Hankey R.E. from 1904-1920, large 4to., cloth, limited edition no. 122/350, L. H. Lefevre & Son, n.d.; and others. (8)
Lot 195
Bernard Kay (1927-2021)'Interior at Poitiers', trial proof, etching and aquatint, signed to the lower right, unframed, 34cm x 48.5cm; together with copper plate for the print, 34.5cm x 49cm and Épreuve d'artiste (Artist's proof), signed and dated '54 to the lower right, 47.5cm x 55cm, with corresponding copper plate, 33.5cm x 31.5cm (4) At present, there is no condition report prepared for this lot, this in no way indicates a good condition, please contact the saleroom for a condition report.
Lot 262
Michael Rees (b.1962)'Fisherman's family', crayon sketch, dated 89, signed in pencil lower left, 13cm x 22cm, another by the same artist 'Study of a figure', watercolour, dated 1996, signed in pencil lower left, 21cm x 15cm and one other also by the same artist 'Man against blue', etching and aquatint, dated 99, signed in pencil lower left, 16.5cm x 22cm (3) Provenance: From the collection of Professor John Chambers. At present, there is no condition report prepared for this lot, this in no way indicates a good condition, please contact the saleroom for a condition report.
Lot 143
Stanley William Hayter (1901-1988)'Le Couple', etching, limited edition 9/200, signed and dated '52 to the lower right of the margin, with 'ARC' watermark, 56cm x 38cm overall Unidentifiable foreign objects behind the glass. Fabric mount with time/UV fade. Frame with signs of wear consistent with age and use.
Lot 270
James Lewis-Stant (1905-1964) 'The Streets of Saint Ives', a folio of six etchings produced by the artist in 1952, this being number ten in the edition of fifty, titled 'Fish Street', 'Barnoon Hill', 'From the Slipway', 'Bethesda Hill', 'Porthmeor Square', 'The Oldest House', unframed, each etching signed in pencil, 23cm x 18cm (6) At present, there is no condition report prepared for this lot, this in no way indicates a good condition, please contact the saleroom for a condition report.
Lot 194
Bernard Kay (1927-2021)'Stonehenge', etching and aquatint, proof, signed in pencil lower right, unframed, 46.5cm x 58cm; together with corresponding copper plate, 33cm x 46cm (2) With overall wear, marks, signs this has not been framed. Wear to the edge could easily be concealed when framed. Slight discolouration/dirt in places, otherwise seems ok. Plate with signs of wear consistent with age and use, as expected. Plate with areas of discolouration.
Lot 199
Bernard Kay (1927-2021) various nude pencil studies, on tinted ingres paper, within a spiral bound sketch book, the first study dated 18.12.60; together with 'Chartres', etching and aquatint, artist's proof, signed to the lower right, with personal message 'For Dear Mam, All good wishes for Christmas & New Year with love ever - Bernard', 12.5cm x 9cm; an abstract etching, signed and dated '54 to the lower right, with personal message 'To My Dear Mam + Dad, With Love and Best Wishes for Christmas and The New Year. Bernard. PARIS. 14.12.54.'; a pencil study of Stonehenge, unsigned, 20.5cm x 25.5cm; a pencil and pen study of a church interior, unsigned, 21cm x 30cm and a watercolour study of various figures, unsigned (6) At present, there is no condition report prepared for this lot, this in no way indicates a good condition, please contact the saleroom for a condition report.
Lot 158
Attributed to Eszter Gyory (b.1942) 'Outlaw world', etching and aquatint, numbered 75/200, signed in pencil lower right, 27.5cm x 23cm At present, there is no condition report prepared for this lot, this in no way indicates a good condition, please contact the saleroom for a condition report.
Lot 178
Susie Perring (Contemporary) 'Tapas', etching and aquatint, numbered 65/120, signed in pencil lower right, 44cm x 43cmProvenance: With 'The Wiseman Gallery, 40-41 South Parade, Summertown, Oxford' receipt, dated 10/04/01. Minor display wear and scuffs to the frame. Some foreign objects under the glass over the mount in places. The etching itself appears ok.
Lot 198
Bernard Kay (1927-2021)'Malvern College', etching and aquatint, artist's proof, signed to the lower right, unframed, 30cm x 60cm; together with matching copper plate, 30.5cm x 61cm and a further copper plate, circa 1950s, 33.5cm x 47cm (3) Print with creasing outside the plate. Has been written on in pencil outside the plate by a separate hand to Kay's. Copper plates with signs of wear consistent with age and use as expected. Copper plates with areas of staining.
Lot 291
After Augustus John (1878-1961) 'Self Portrait, 1906', etching, unsigned, 21cm x 18cmProvenance: Russell Barnes Esq, with 'Liss Fine Art' label to the reverse. Literature: Campbell Dodgson, Catalogue Raisonne, No 9. At present, there is no condition report prepared for this lot, this in no way indicates a good condition, please contact the saleroom for a condition report.
Lot 196
Bernard Kay (1927-2021)'Stonehenge', etching and aquatint, proof, signed in pencil lower right, unframed, 46cm x 57.5cm and a collection of smaller studies by the same artist, also unframed (6) At present, there is no condition report prepared for this lot, this in no way indicates a good condition, please contact the saleroom for a condition report.
Lot 83
REMBRANDT HARMENSZOON VAN RIJN (DUTCH 1606-1669) THE THREE TREES (B., HOLL. 212; NEW HOLL. 214; H. 205), 1643 etching with engraving and drypoint, on laid paper, watermark Foolscap with five-pointed Collar (Hinterding A-a-a), New Hollstein's only state, a brilliant, early impression of this highly important subject, printing very richly and darkly, with intense contrasts and bright highlights, the burr and sulphur tinting in the sky very pronounced, with small margins the sheet 21.8cm x 28.3cm (8 ½in x 11in) Christiaan Josi (1768-1828), Amsterdam and London (see Lugt 573, without mark); his posthumous sale, Christie's, London, 18-21 March 1829, lot 83 'Most Brilliant Impression' (£12; to Seguier)William Seguier (1771-1843), London (Lugt 2277), acquired at the above sale, with his pencil signature verso; his posthumous sale, Christie's, London, 29 April - 3 May 1844, lot 431 (£23-12-6; to Hawkins)John Heywood Hawkins (1803-1877), London and Bignor Park, Sussex, his purchase price inscribed in Greek letters (see Lugt 3023); acquired at the above saleProbably with Colnaghi & Co., London; acquired from the aboveWalter Francis Duke of Buccleuch (1806-1884), London and Dalkeith, Scotland (Lugt 402); probably acquired from the above, with his collection ink mark verso; his posthumous sale, Christie's, London, 19-22 April 1887, lot 1954 ('from the Seguier and Hawkins Collections') (£165; to Meder)With Louis Gerhard Meder (1848-1924) (of Amsler & Ruthardt), Berlin; presumably acquired on behalf of the belowSammlung der Königlichen Museen, Berlin, dated 1887 (Lugt 1610); presumably acquired from the above; with their de-accession stamp verso (Lugt 2482); their sale, Amsler & Ruthardt, Berlin, 6 March 1899 (and following days), lot 1600 ('Die Gewitterlandschaft mit den drei Bäumen. S. 212. Des Meisters Hauptblatt unter den Landschaften; das prachtvolle Exemplar der Sammlung Buccleuch, auf Schellenkappenpapier und mit 3 mm Rand ringsum. Exemplare von der Schönheit und vortrefflichen Erhaltung des vorliegenden sind von höchster Seltenheit und Kostbarkeit.')Dr Julius Elischer von Thurzóbánya (1846-1909), Budapest (Lugt 824, stamped twice); probably acquired at the above saleWith Kennedy Galleries, New York, with their stock number a48042 in pencil versoRobert Woods Bliss (1875-1962) and Mildred Barnes Bliss (1879–1969), Dumbarton Oaks, Washington, D.C. (Lugt 2004a); presumably acquired from the aboveDumbarton Oaks Research Library and Collection, Washington D.C; presumably part of the donation from the aboveWith R. M. Light & Co., Santa Barbara, CaliforniaPrivate Collection, acquired from the above on 31 January 1980; then by descentChristie's London, Old Master Prints, 9 December 2021, lot 126Acquired from the above by Hugo Burge Literature: Bartsch, Hollstein 212; New Hollstein 214; Hind 205Cynthia P. Schneider, Rembrandt’s Landscapes – Drawings and Prints, National Gallery of Art, Washington, D.C. (exh. cat.), 1990, no. 75, pp. 240-42 (another impression illustrated)Erik Hinterding, Rembrandt Etchings from the Frits Lugt Collection, Fondation Custodia, Paris, 2008, no. 167, pp. 390-93 (another impression illustrated)Nicholas Stogdon, A Descriptive Catalogue of the Etchings by Rembrandt in a Private Collection, Switzerland, privately printed, 2011, no. 93, pp. 158-9 (another impression illustrated)The Three Trees is Rembrandt’s largest and most elaborate landscape etching and is considered a masterpiece within his oeuvre.
Lot 363
AN 1822 PATTERN INFANTRY OFFICER'S SWORD with 32" curved and pipe backed blade, remnants of etching including George IV cypher, brass hilt, shagreen grip and leather scabbard with brass mounts inscribed "GILPIN & CO. NORTHUMBERLAND ST. LONDON", 38 1/8" long (Est. plus 24% premium inc. VAT)Condition Report: Some oxidation to blade and wear to etching. Flattening to hand guard and wear to scabbard foot where it has been dragged during active use. Scabbard flexible but not bent.
Lot 1060
Claude Rowbotham, signed aquatint, river estuary scene at sunset, unframed together with a Robert Linnell Armitage etching ' Old Saxon Mill, Warwick ', a Continental oil on canvas laid to board , figures in a landscape , indistinctly inscribed and dated 1909, 22cm x 29cm, and a coloured print of a lime cement factory on the Thames
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78388 item(s)/page