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Lot 278
This monumental tribute in respect to the memory of Ad. Ld. Nelson, who in the moment of victory glorious fell fighting ...Hand coloured etching, London: I. Hinton, March 1, 1806. Framed, small size Note: Similar to Le Quesne 43, this is a rare example of one of the prints used as the basis for the glass pictures. Such prints are all togther different from the high quality mezzotints used as the basis for glass pictures in the previous century. The prints are largely etchings strengthened in places by some dirct engraving of the plates, together with some light use of the mezzotint rocker. Surving prints are rarer than the glass pictures themselves and Professor Le Quesne records only ever having seen two. (Le Quesne pp. 94-95).
Lot 279
Baron Nelson, of the Nile and Burnham Thorpe in the County of Norfolk. Hand coloured aquatint with etching, London: John Fairburn, Nov. 26, 1798. Framed, 37cm x 25cm; together with 'Sir Edward Hawke', a glass print, 36cm x 26cm; and 'Nelson', a glass print in black, backing missing, 31.5cm x 25cm (3)
Lot 280
The Jubilee Naval Action on the Serpentine in Commemoration of the Battle of the Nile Hand colour aquatint with etching, Surrey: T. Palser, Aug. 24, 1814. Framed, image 22.5cm x 33cm; together with another of the same subject, London: Edwd. Orme, Aug 12, 1814. Framed, image 15.5cm x 23cm (2)
Lot 679
Wenceslaus Hollar (Von Parachna) 1607-1677- The Hunt, from the illustrations to Aesop's Fables; etching, signed within the plate, showing scattered worm holes and thin spots unexamined out of the frame, 25x19.5cm: European School early 17th century- View of Prague, circa 1618; engraving: together with two other 19th century engravings by and after various hands, (4)
Lot 776
* Georges Mercier, French 19th century- "Day's Work Done", after Jules Breton, copyright 1889 by C Klackner NY and G W H Ritchie, imp; etching with remarque, signed twice in pencil 49.5x70cm: Achille Jacquet, French 1846-1908- "Le Guide", after Meissonier, publ 1894 by Arthur Tooth & Sons, London; etching with remarque, signed within the plate and signed in pencil, in a good Kentian frame, bearing Arthur Tooth & Sons label attached to the reverse, 66.7x50.7cm: Leon-Auguste L'Hermitte, French 1844-1925- The Sermon, publ June 1st 1888 by Arthur Tooth & Sons, London; etching, signed and dated 1887 within the plate, signed in pencil, bears gallery label for Arthur Tooth & Sons attached to the backboard, 66.3x47.3cm., (3)
Lot 791
Sir Francis (Frank) Job Short RA PRE, 1857-1945- "Walberswich Pier, Sept, 1890"; drypiont etching, signed in pencil, signed, titled and monogramed, within the plate, 16x24cm: together with four other prints by the same hand, as follows: "Old Quay on the Nith"; drypoint etching, signed in pencil and within the plate: "Canal at Cookley, Dee Sands"; lithograph, initialed in pencil: "Seine Fishing"; lithograph, signed in pencil: "Cloudburst Over Dee Sands, mill at Ash, Kent"; lithograph, initialed in pencil, in matching gilt frames, (5)
Lot 897
Jean-Baptiste Valadie b.1933- Seated female nude; etching printed in colours, signed, numbered and dated indistinctly in pencil, 29x39cm: After Mariette Lydis 1890-1970- "Dominique"; reproduction printed in colours, signed within the plate, 37x27cm: Hanfstaengl, publ- "Die Zukunft", after Herbert von Herkomer; colour reproduction print, signed and dated 1905 within the plate, bears additional printed facimile signature, 27x18cm: After Howard Elcock- "New York Dance Hall" and "'Tis Woman's Whole Existence"; hand-coloured reproduction prints: 29x44cm., ea: After Barbara Wood- "Tea Time"; colour reproduction print, signed and numbered 641/750 in pencil: together with a colour reproduction print of a garden subject, signed and titled in pencil, two contemporary paintings on silk and a contemporary Egyptian painting on papyrus, (10) (may be subject to Droit de Suite)
Lot 937
After Charles Philips 1708-1747- "Her Royal Highness, Augusta princess of Wales"; published by Thomas Bowles, London, 1737, mezzotint, 36x25cm: Jean Jacques De Boissier 1736-1810- "The Village square"; etching, initialed and dated 1774: together with other 19/20th century etchings and lithographs after various hands to include Ernest Meissonier 1815-1891- "The Dispute"; etching, with remarque, bears signature in pencil,Tatton Winter 1855-1928, etching and Charles E Peers 1875-1944, lithographs, (8) (part unframed)
Lot 158
Henry Moore (1898-1986), “Mother and Child VII", signed and numbered 43/65 in pencil in the margin, from Mother and Child portfolio, from an edition of 65 with 15 H.C.'s, printed by James Collyer and John Crossley, London 1983-1986, published by Raymond Spencer Company Ltd for the Henry Moore Foundation, etching and aquatint and roulette, plate size 25 x 30cm.; 9.75 x 11.75in. Illustrated
Lot 358
Sir Claude Francis Barry (1883-1970), full length portrait of Mary Marshall, oil on board, 60" x 51", Paris Salon label on reverse, to be sold with a copy of the original catalogue "La Revue Moderne, 1st September 1965" (This picture is illustrated on page 5) and with two hand-written letters from Barry the envelopes post-marked 31/10/63 and 4/4/64. " You stole the show with your great beauty and glorious voice. Your attraction is very disturbing to any man who sees you, you know I often dream about you - you know your beauty is not just physical the beauty of your character shines in your face - artists know these things Mary"; the second letter finishes "Do you know you are one of the loveliest girls in the World." Also included in the sale are a copy of a photograph of her wearing the dress in the painting and a Columbia Records postcard. Sir Claude Francis Barry was born 125 years ago into a rich family whose wealth was based on heavy industry. But he had a troubled childhood after the death of his m ther when he was two and his father's subsequent re-marriage in 1893. In 1905 he went to live in St Ives. Barry was a pacifist and was any way exempted from military service; he did not fight in the First World War. From about 1905, he exhibited his pointilistic works at the Royal Academy and elsewhere. Between the Wars he became renowned for his etchings and spent much of his time on the Continent returning to St Ives in 1939. Most of his etching plates were stored in Milan and were destroyed by a bomb in 1944. After the War he left Cornwall to live on Jersey. It is during this period that he painted many of his portraits including this one. Provenance; This portrait is sent in for sale by the sitter. Mary Marshall knew the artist well and he had great admiration for her as a singer. She was born in Bolton and was a solo artiste with Columbia in the 1950's. For a short time she was a member of a group "The Three Shades". She moved from her recording company and accepted a contract to perform in the Channel slands for impresario Sydney James, where she caused an unprecedented sensation; they were married in 1960 and settled in Guernsey. Mary continued in Sydney's Olde Tyme Music Hall shows and cabarets for many years having had two daughters. She retired in 1979 and remains in Guernsey today having remarried after her husband's death in 1985.
Lot 278
Mid 19th century British School - silhouette profile of a boy, indistinctly inscribed 'Arthur Lylleton Apinesty? aged 13' on label verso, 4.25" x 3", within a beaded, moulded ebonised frame; 20th century School - side profile of a boy with a gentleman smoking, black and white etching, 3" x 2.25" (2)
Lot 116
A GERMAN EXECUTIONER'S SWORD, LATE 17TH/ 18TH CENTURY with broad flat blade formed with a blunt near square tip, cut with a short fuller on each side and etched with the inscription 'Justicia' above the figure of Justice and a scrollwork panel, one side decorated with a wheel at the end of the fuller and a bladesmith's mark at the forte, and the other with a Gibbet (the etching worn), steel hilt comprising a pair of straight tapering quillons with moulded bud-shaped finials, plummet-shaped pommel, and banded grip with later leather covering, in a modern scabbard 80cm; 31 1/2in blade
Lot 121
FOUR GERMAN HUNTING SWORDS, 18TH/19TH CENTURIES the first with etched blade double-edged towards the point, decorated with a doe and the inscription 'Weidmans Heil' on the respective sides, steel hilt including down-turned shell-guard and a pair of short moulded quillons, natural staghorn grip, and in its original leather-covered wooden scabbard with large steel mounts; the second with straight fullered blade double-edged towards the tip, retaining traces of etching at the forte, brass hilt, and natural staghorn grip, in its brass-mounted leather scabbard with suspension frog; the third with straight blade inlaid with brass ornament on its upper portion on each side, steel hilt, and natural staghorn grip, in its leather scabbard complete with two buckled loops for suspension; the fourth with robust blade, steel hilt including down-turned scalloped shell and a pair of acorn quillons, in its steel-mounted leather-covered wooden scabbard the first: 51.2cm; 20 1/8in (4)
Lot 216
A COMPOSITE GERMAN ARMOUR FOR FIELD AND TOURNAMENT USE, LATE 16TH CENTURY AND LATER comprising close helmet with heavy rounded one-piece skull rising to a low comb (one small internally patched repair), fitted at the nape with conical plume-holder, and formed with a hollowed rim to fit over a collar, visor with prominent step beneath its centrally divided vision-slit, prow-shaped upper bevor pierced at each side with a circular arrangement of eight holes around a further central hole, later bevor fitted at its right side with forked support for the upper bevor and formed at its neck with a hollowed rim continuing that of the skull, the bevor and upper bevor each secured at the right side by spring catches, the visor secured by a wing headed screw, gorget of three lames front and back, hinged on the left and secured at the right, medially-ridged breastplate projecting forward over the belly, boxed at each side, flanged outwards at its V-shaped lower edges to receive a single fauld lame, fitted with a pair of gussets formed en suite with the neck-opening, the inside thickened over the left of the chest, a pair of tassets of five lames, Italian late 16th Century backplate stamped with the letters GP for Gioco del Ponte at the base, a pair of full arm-defences, each comprising large pauldron of five lames, vambrace with tubular upper cannon surmounted by a turner, fully enclosed articulated couter with small pendant-shaped wing, tubular two-piece lower cannon, a pair of fingered gauntlets each formed of a long flared and pointed cuff embossed over the ulna, and fitted with a separate inner plate, five metacarpal-plates, a knuckle-plate decorated with a roped transverse rib, shaped finger-lame, scaled finger-defences and hinged thumb-defence with matching scales, a pair of leg-defences, each comprising cuisse of a main plate and short upper extension plate, winged poleyn of three lames, tubular two-piece greave with integral broad-toed sabaton of ten lames, the armour finely etched in its main bands and borders with scrolling leafy tendrils and flowerheads on a stippled ground, and in its subsidiary borders with narrow guilloche bands, the principal edges with finely roped turns, and the etching retaining some gilding: on a fully articulated stand on an oak plinth (expertly releathered throughout) Provenance The Roselius Haus, Bremen The helmet with its distinctive upper bevor is similar to those worn in the Saxon tournaments of the latter part of the 16th Century. See L. Rangström 1992, p.98, no. 80 and p. 351.
Lot 128
William Lee-Hankey (1869-1952) 'Le Connaisseur des Fleurs Etaples', etching, signed in pencil, and bears blind stamp monogram, 21cm x 16cm . Lee-Hankey was born in Chester and studied at the Royal College of Art and later in Paris. He produced a series of etchings of Breton subjects including architectural and figure studies.
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78388 item(s)/page