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Lot 261
Graham Clarke (b.1941) 'The Renaissance man', triptych, etching and aquatint, numbered 348/400, signed in pencil to the lower right of the centre panel, the inner mount measurement is 48cm x 83cmWith some foxing and minimal stains. Display wear, scuffs and some marks to the frame. General display wear as expected.
Lot 271
Dame Elisabeth Frink (1930-1993) 'Running man', etching and aquatint, numbered 52/100, printed by Kelpra Studios, circa 1986, with blind stamp, signed in pencil lower right, 30cm x 27.5cm Some foxing and small marks, most notably to the mount and edges of the left hand side and top left corner of the etching. The frame with minimal display wear as expected, otherwise seems ok. Some dirt to the glass and frame.
Lot 197
NICHOLSON (BEN)Drawings Paintings and Reliefs 1911-1968. Introduction by John Russell, FIRST EDITION, NUMBER 19 OF 60 COPIES WITH AN ORIGINAL SIGNED ETCHING, numerous colour plates, publisher's cloth, dust-jacket, the etching loose as issued in folder held within matching cloth solander box, large 4to, Thames and Hudson, 1969This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 564
Gerald Maurice Burn (British,1862-1945) "Victory", watercolour, signed lower right, gilt framed and glazed, 7x10ins, together with an etching of HMS Victory by K.Vernon (British,20th century) with title and artist's signature in pencil to mount, 6.5x9ins, framed and glazed. (2)largest 18x26cmGood condition
Lot 200
Tracey Emin (born 1963)Little Owl (Self Portrait), 2005 signed, titled, dated and inscribed 'AP' in penciletching26 x 32cm (10 1/4 x 12 5/8in).Footnotes:ProvenanceAcquired directly from the artist by the current ownerThis lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 201
Tracey Emin (born 1963)Little Family Love, 2005 signed, dated, inscribed 'A/P' and dedicated 'To Barry and Lizzy' in penciletching 20.9 x 26.2cm (8 1/4 x 10 5/16in).Footnotes:ProvenanceAcquired directly from the artist by the current ownerThis lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 455
A Victorian hallmarked silver pocket watch. The watch having a circular white face with black Roman numeral indices to an etched design case &floral & foliate etching to the verso with central shield & monogrammed initials. Hallmarked for Birmingham 1880, makers marks for J.A. Total weight approx 42.9g. Measures approx 5.5x3.5cm.
Lot 230
A good Japanese sword Katana, with green and black gilded lacquer Saya (scabbard), the blade 76cm long (from notch to point), having straight 'Hamon' and being signed to the tang (Nakago) 'Echizen No Kami Fujiwara Sukehiro'. Suke Hiro was an Edo period 17th century swordsmith, but such a signature does not guarantee the age of the sword. Double handed silk bound shark skin grip with iron Tsuba and gilded dragon Menuki. Overall 1.06M long including saya. Provenance: local private vendor who's relative acquired the sword at the end of WWII. (B.P. 21% + VAT) Overall appearing in fair to good condition, silk binding is grubby, tiny loss to blade point under magnification, small area of rust to the iron tsuba. We are not able to warrant the age of this item.Overall appearing in fair to good condition, silk binding is grubby, tiny loss to blade point under magnification, small area of rust to the iron tsuba. We are not able to warrant the age of this item.----Detailed Report of the Japanese Samurai Katana. Fine Art Sale – March 2023This ‘Katana’ is identified by the two handed grip or handle (Tsuka), the shallow curvature of the blade, the position and manner in which the sword is worn and, also, the positioning of the maker’s signature, which here appears on the side of the Tang (Nakago) which would traditionally face to the front, away from the body, where the sword is worn on the left side, blade curve up and held in place by the Kimono Sash. The ‘Nakago’ is signed – ‘Echizen No Kami Fujiwara Suke Hiro’. Suke Hiro was a renowned Edo period seventeenth century swordsmith. Because of his fame, there are many fakes and copies of his work, so the signature alone is not a guarantee of authenticity. However, there are many interesting features on this sword and its scabbard (Saya) which would fit with the period that the signature suggests.The Scabbard (Saya) – Ornately decorated in a dark green toned lacquer with black lacquer mottling and all highlighted with extensive gilding. The black lacquered cord loop (Kurigata), is a further indicator that this sword is a Katana. The earlier ‘Tachi’ curved sword, from which the ‘Katana’ was ultimately developed, was essentially a cavalry weapon and wielded from horseback, whereas the Katana became the favoured weapon for hand to hand combat, on foot. The ‘Tachi’ scabbard would have two cord loops and was mounted suspended, unlike the Katana which has one loop and is worn through the belt sash. The finely chisel-engraved metal binding around the scabbard has been tested and proves to be Silver. The configuration of the metalwork around the bottom of the ‘Saya’ appears to be in keeping with some Edo examples observed.The Silver banding was worn by second rank Samurai aristocrats. On this sword, the metal work on both the ‘Saya’ and the ‘Tsuka’ is beautifully enhanced by very finely hand engraved leaf scroll-work. The highest ranks wore gold bound swords.The Katana Blade – This sword has a 76 centimetre blade length, measured from the notch on which the blade collar (Habaki) seats, to the point of the blade. The blade is quite long for a ‘Katana’, which usually has a blade length in the low sixty centimetre range, though ‘Katana’ blades up to 80cm. have been recorded. This blade has a ‘Straight Hamon’ which is the line of a somewhat cloudy appearance immediately above the cutting edge and is an indicator that the blade has been ‘differentially tempered’ in the traditional manner. ‘Differential tempering’ is achieved by applying a layer of clay to the blade, of ever decreasing thickness from the spine of the blade to the cutting edge, the last few millimetres having little or no clay at all, applied to it. The blade is differentially tempered by a process of forge-firing and quenching which produces the required hard edged but flexible sword blade. It is worth mentioning that Suke Hiro achieved some fame in his later career when he developed a technique that produced the elaborately decorative ‘Toran Midare Hamon’ which, in appearance, resembled large high-rising ocean waves and was highly prized by the seventeenth century Edo Samurai. There are, however, extant blades attributed to Suke Hiro, which show a Straight ‘Hamon’. Microscopic investigation of the ‘Hamon’ on this blade, appears to reveal the ‘Martensite Crystals’ at the tempered edge, reducing in density from the cutting edge towards the back of the ‘Hamon’ (nearest to the spine), all in all suggesting that this ‘Hamon’ is correct. A ‘Hamon’ can be contrived and faked by acid etching, but this does not appear to be the case with this sword. The naked blade and Nakago of this sword appear to compare visually to the 17th. century Edo blades of the period, illustrated in ‘Facts and Fundamentals of Japanese Swords – a Collector’s Guide’ by Nobuo Nakahara (translated by Paul Martin). The cross section shape of the blade (Mune), appears to conform with the ‘gyo-no-mune’ shape seen on page 60 fig. 70 of Nobuo Nakahara’s guide. The patina on the ‘Nakago’ is of a brownish hue and the finishing hand filing marks are clearly visible.The Sword Handle (Tsuka) – The ‘Tsuka’ is the double-handed grip which is separated from the sword blade by the blade collar (Habaki) and two sword guard spacers (Seppa) which sit either side of the sword guard, itself (Tsuba). On this sword there appears to be a ‘Tsuba’ maker’s signature, in the Kanji flanking the ‘Nakago’ aperture. We think that part of the inscription on the ‘Tsuba’ makes reference to Yamashiro no Kuni province and the Kanji to the left of the ‘Nakago’ aperture, though somewhat obscured by rust, can be the name ‘Tadatsugu’. Further research has revealed that there were at least three swordsmiths of that name working in Yamashiro province, between 1644 and 1673. The ‘Tsuka’ is held in place on the ‘Nakago by a Bamboo tapered peg (Mekugi) which passes through a single hole in the ‘Nakago’ and secures the whole assembly in place. The ‘Tsuba’ is plain iron with no adornment other than the Kanji characters mentioned above. The body of the ‘Tsuka’ is made from wood, before being traditionally wrapped in a layer of Ray skin (Samegawa). There are two gilded white metal, in this case, ‘Dragon’ talismans (Menuki) , one on each side of the hilt where the sword is held and these are secured in place by a two-colour silk ‘wrap’ (Ito). The ‘Ito’ is secured at the ‘Tsuba’ end of the handle with the ‘Tsuka’ collar (Fuchi) and at the opposite end, by the ornate pommel (Kashira) which, on this sword is fashioned as two arms with hands folded, one on top of the other and embracing the top of the hilt. Both the ‘Fuchi’ and the ‘Kashira’ are emblazoned with the Family Crest (Mon) of the ‘Minokuni branch of the Ikeda family’, two of which are raised and gilded and two which are raised, but with no gilding. The circular ‘Mon’ is in the form of a stylised Butterfly.Condition – There is some degradation of the Lacquer-work on the Saya and very minor fraying of the silk in the ‘Ito’, which is also grubby in places. There is a small loss to the point of the blade which becomes apparent under magnification. There is a small area of rust visible on the signed surface of the ‘Tsuba’. There is a minor distortion of the ‘Mekugi’ peg. Otherwise, the ‘Katana’ is in very good condition.We have described this Katana to the best of our ability and knowledge but, ultimately, it must rest with the buyer regarding decisions as to authenticity and age.
Lot 28
*Item to be collected from Friargate, Derby* Joshua Barney, by W Hamilton R.A Pinx, a pair, 'The Pilgrim' and 'Sylvia and Her Dying Fawn', hand tinted etchings, London March 1794, published by Darling & Thompson (print sellers to the Duke & Duchess of York), Great Newport Street and Thomas Simpson, St Pauls Churchyard, approx 53.5cm x 37cm; a hand coloured etching of Napoleon, approx 24cm x 21.5cm; and a print after Jan Van Eyck, Portrait of a Man with a Turban, approx 26cm x 18cm (all framed) (4)Condition - wear and tear commensurate with ageObject location - Drawing Room
Lot 173
RENÉ MAGRITTE (1898-1967)Les moyens d'existence (Kaplan & Baum 20), 1968 eau-forte et aquatinte en couleurs sur papier vélin, cachet signé et numéroté au crayon XXIV/XXV, avec le cachet de l'Atelier René Magritte, cachet à l'aveugle, imprimé par l'Atelier Georges Visat, Paris, à marges complètes, avec rouge atténué.etching and aquatint in colors on wove paper, stamp signed and numbered in pencil XXIV/XXV, with the Atelier René Magritte blindstamp, printed by Atelier Georges Visat, Paris, with full margins, with toned down red.19 x 13.5cm (7 1/2 x 5 5/16in).Footnotes:ProvenanceCollection Heinz Berggruen, Berlin & Paris.Collection Françoise de Pfyffer.Collection particulière, Espagne (par descendance).For further information on this lot please visit Bonhams.com
Lot 284
Sir Frank Brangwyn RA (1867-1956)/Naples/signed in pencil/etching, 18cm x 23.5cm CONDITION REPORT: In very good conditionARR Artist's Resale Right may apply to the sale of this lot if the hammer price is the equivalent of 1000 Euros or more, incurring an additional fee. For further information please ask Chorley's or visit www.dacs.org.uk
Lot 298
Bernard Kay (1927-2021)/Composition/signed, titled and edition number outside the plate/numbered 19/50. 1958/etching and aquatint, 46cm x 33cm/Note: Edition 18/50 of this etching is in the permanent collections of the Victoria & Albert Museum CONDITION REPORT: The paper has gone a little brown otherwise framed and goodARR Artist's Resale Right may apply to the sale of this lot if the hammer price is the equivalent of 1000 Euros or more, incurring an additional fee. For further information please ask Chorley's or visit www.dacs.org.uk
Lot 537
Elyse Ashe-Lord (1900-1971)/Little Dragon Pine/signed and numbered in pencil below, 79 of 100/hand coloured etching, 28.5cm x 15cm CONDITION REPORT: Not framed, good overall condition though there may have been some slight discolouration to the paperARR Artist's Resale Right may apply to the sale of this lot if the hammer price is the equivalent of 1000 Euros or more, incurring an additional fee. For further information please ask Chorley's or visit www.dacs.org.uk
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