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Lot 112
Φ Lucy Elizabeth Kemp-Welch RA (1869-1958)Study of two carthorses; Study of a horse and foalTwo, the former signed with initials and dated L.K-W/1898 (lower left), the latter signed with initials and dated L.K-W/1898 (lower right)Both watercolour and bodycolour13 x 18.9cm; 13.1 x 19.2cmTogether with Lucy Elizabeth Kemp-Welch; Horse and foal; Signed L.Kemp-Welch (in pencil to margin); Etching; 23 x 17.2cm (3)
Lot 38
Lucian Freud (British, 1922-2011)Man Posing (Hartley 27; Figura 44) Etching, 1985, on Somerset Satin White wove paper, signed with initials and numbered 23/50 in pencil (there were also fifteen artist's proofs), printed by Studio Prints, co-published by James Kirkman, London, and Brooke Alexander, New York, the full sheet, framedPlate 695 x 545mm (27 3/8 x 21 1/2in)Sheet 885 x 740mm (34 7/8 x 29 1/8in)Footnotes:ProvenanceMarlborough Fine Art Ltd., London.Acquired directly from the above by the present owner.This 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 4
Rembrandt Harmensz van Rijn (Dutch, 1606-1669)The Adoration of the Shepherds: a Night Piece (Bartsh 46; New Hollstein 300) Etching with drypoint and engraving, circa 1657, on laid paper, a good impression of New Hollstein's eighth state (of eleven), with small margins, framedPlate 148 x 198mm (5 7/8 x 7 3/4in)Sheet 153 x 201mm (6 x 7 7/8in)Footnotes:ProvenanceChristie's, Old Master, Modern and Contemporary Prints, London, Tuesday 28 November 1995, lot 245.Purchased from the above sale by Bernard Levin.Thence by descent to the current owner.The Adoration of the Shepherds was a common motif during the Dutch Golden Age. It provided artists with the opportunity to create tender, private devotional compositions, which were well aligned with the personal approach to religion in the Lower Countries in that period. Painters and printmakers alike experimented with the stylistic tools offered by Caravaggism, such as the theatrical use of light and intimate framing of the image, to draft ever more expressive and moving representations. This etching depicts the Holy Family with an immediate, touching naturalism. Joseph is reading, whilst Mary and the Christ child rest, swaddled in blankets in the cold stable. Rembrandt's skilful use of etching and drypoint to delineate the figures and subtle illumination conveys the wonder of this moment, evoking compassion and empathy for the protagonists.For further information on this lot please visit Bonhams.com
Lot 41
Lucian Freud (British, 1922-2011)Head and Shoulders of a Girl (Hartley 41; Figura 32) Etching, 1990, on Somerset Satin white wove paper, signed with the initials and numbered 12/50 in pencil (there were also ten artist's proofs), co-published by James Kirkman, London, and Brooke Alexander, New York, the full sheet, framedPlate 690 x 545mm (27 1/8 x 21 1/2in)Sheet 780 x 628mm (30 3/4 x 24 3/4in)Footnotes:ProvenanceRex Irwin, Woollahra, NSW.Acquired directly from the above by the present owner.This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 32
David Hockney R.A. (British, born 1937)Mirror, Mirror on the Wall (M.C.A. Tokyo 10) Etching and aquatint in black and red, 1961, on Crisbrook handmade wove paper, signed and dated in pencil, from the edition of approximately fifty impressions, printed by Ron Fuller and Peter Mathews at the Royal College of Art, London, published by the artist, with wide margins, framedPlate 400 x 500mm (16 x 19 5/8in)Sheet 568 x 762mm (22 3/8 x 30in)Footnotes:ProvenanceGifted by the artist to the painter and fellow student at the Royal College of Art, Michael Simpson.Thence by descent to the current owner.This 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 10
Edward Hopper (American, 1882-1967)Night in the Park (Zigrosser 20; Levin 80) Etching, 1921, a fine atmospheric impression, on Umbria paper with partial watermark, signed in pencil, framedPlate 172 x 210mm (6 3/4 x 8 1/4in)Sheet 328 x 395mm (12 7/8 x 15 1/2in)Footnotes:Edward Hopper is admired for his atmospheric and enigmatic depictions of life during the American Depression and particularly well known for his urban scenes of New York. The majority of these scenes depict buildings and streets devoid of people, or perhaps with one solitary figure. In contrast to his contemporaries who were depicting the crowds and bustle of cities, he chose to focus on quiet reflective moments such as a man reading a newspaper in Central Park. There is a stillness and melancholy to the image which conveys a sense of isolation. Hopper infuses it with drama through the play of light and shadow, with the solitary figure highlighted under the street lamp. The diagonal created by the row of benches draws the eye into the picture to the spotlit figure who is turned away from view, emphasizing the sense of alienation which can be experienced in a big city.Having trained as a commercial illustrator and painter, Hopper was meticulous in his execution and he printed the etchings himself to ensure the perfect result was achieved. His technique and choice of subject matter grasped the public's imagination and although the success of his paintings eclipsed that of his printmaking, the etchings are considered as masterpieces of modern American printmaking.As the New Yorker art critic, Peter Schjeldahl, succinctly put it, Hopper 'leaves us alone with our own solitude, taking our breath away and not giving it back...Once you've seen a Hopper, it stays seen, lodged in your mind's eye'For further information on this lot please visit Bonhams.com
Lot 29
Zao Wou-Ki (Chinese/French, 1921-2013)Sans titre (Ågerup 118) Etching with aquatint in colours, 1959, on BFK Rives wove paper, signed, dated and numbered 53/95 in pencil (there were also ten unnumbered artist's proofs), printed by R. Dutrou, published by La Hune, Paris, the full sheet with deckle edges at left and right, framedPlate 396 x 445mm (15 5/8 x 17 1/2in)Sheet 503 x 654mm (19 3/4 x 25 3/4in)This 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 37
Lucian Freud (British, 1922-2011)Girl Holding her Foot (Hartley 25; Figura 34) Etching, 1985, on Somerset Satin White wove paper, signed with initials and numbered 23/50 in pencil (there were also fifteen artist's proofs), co-published by James Kirkman, London, and Brook Alexander, New York, the full sheet, framedPlate 690 x 540mm (27 1/8 x 21 1/4in)Sheet 880 x 715mm (34 5/8 x 28 1/8in)Footnotes:ProvenanceMarlborough Fine Art Ltd., London.Acquired directly from the above by the present owner.Lucian Freud, a towering figure of figurative art, is mainly known for his large-scale paintings that scrutinise the human bodies with intrusive truthfulness. Throughout his career, the human form has been the subject of most of his work, driven by what Freud defined as the 'horror of the idyllic'. As such, his paintings avoid embellishment or flattery, often resulting in crude and unsettling portrayals.While painting initially took precedence in his practice, printmaking was always closely entwined. After a hiatus between 1949 and 1981, Freud began to incorporate etching into his process from 1982 onwards. After thirty years dedicated to painting, the etchings display a newfound fluidity to his art. The connection between his painting and etching became integral to understanding the artist's aesthetic. In this sense, Freud can be defined as an heir of the Old Masters, committed to the techniques of oil and etching and to the study of the human figure.In his paintings, Freud renders the physicality of his sitters by layering thick impasto paint. In contrast, his prints offer a blunter version of the same, often freeing the composition from superfluous details. This synthesis, coupled with different and more daring observation points, imparts a more intimate nature to Freud's prints evident in works like Girl holding her foot (Lot 38) and Blond Girl (Lot 40).Both etchings relate to oil portraits, however Girl holding her foot precedes the oil painting. A process of reduction and introspection can be observed in each instance, eliminating background objects and leaving the subjects isolated for closer scrutiny. This adds a poignant immediacy and a disorienting directness to the subjects.Man Posing (Lot 39), in contrast to the etchings of the naked women of the same period – also including Lot 41 and Lot 42 in this sale – is a meticulously detailed portrait. The print, created before the painting of the same subject, is one of the most elaborate etchings Freud ever made. Freud's meticulous work skilfully captures the nuances of the room's background, providing a depth of detail that sets it apart, while retaining a sense of intimacy that is somewhat lost in the painting. All the prints by Freud in this sale are an intimate glimpse at his artistic process and provide a unique perspective on his mastery of etching.This 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 3
Rembrandt Harmensz van Rijn (Dutch, 1606-1669)Man wearing a Close Cap: Bust (The Artist's Father?) (New Hollstein 213; Bartsch 304) Etching, 1630, on heavy laid paper, New Hollstein's eighth (final) state, trimmed along or just inside the platemark, framedSheet 75 x 58mm (2 7/8 x 2 1/4in)This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 39
Lucian Freud (British, 1922-2011)Blond Girl (Hartley 24; Figura 33) Etching, 1985, on Somerset Satin White wove paper, signed with initials and numbered 23/50 in pencil (there were also fifteen artist's proofs), co-published by James Kirkman, London, and Brooke Alexander, New York, the full sheet, framedPlate 690 x 542mm (27 x 21 2/8in)Sheet 884 x 712mm (34 3/4 x 28in)Footnotes:ProvenanceMarlborough Fine Art Ltd., London.Acquired directly from the above by the present owner.This 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 12
Pablo Picasso (Spanish, 1881-1973)Le Repos du Sculpteur IV, from La Suite Vollard (Bloch 174; Baer 327) Etching, 1933, on Montval laid paper with Picasso watermark, signed in pencil, from the edition of 260 (there was also an edition of fifty with wide margins), printed by Lacourière, published by Ambroise Vollard, Paris, 1939, with wide margins and deckle edges above and below, framedPlate 194 x 267mm (7 5/8 x 10 1/2in)Sheet 340 x 436mm (13 3/8 x 17 1/8in)This 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 668
Circular porcelain bowl holding a round silver lid with anopening on one side surrounded by a beaded border to hold the pen and a round inkwell with a hinged lid topped by a pinecone on the other side also surrounded by a beaded border. The side of the lid is decorated with a wreath or circular garland of laurel leaves engraved in etching. The inkwell has a removable glass crucible. The porcelain is decorated with birds among foliage and flowers. Traces of gilding on the inside of the lid and around the ink opening.signed 'Cartier’Numbered ‘47-1532’Stamped 'Made in France’French export mark for 950 silver and for the workshop of R.Linzeler on the inside of the lid and under the hinge.H. 11 cm, D. 9.5 cmWith expertise letter by Alain Cartier - ALC VINTAGE dated 10 October 2023Comment: The Linzeler workshop was bought by Cartier Paris in the late 1930s
![NO RESERVE Lewis (Wyndham) The Roaring Queen, number 1 of 100 copies signed by G.A. Lewis [Mrs Wyndham Lewis], Walter Allen a](https://cdn.globalauctionplatform.com/013bc1ec-a2f0-4a0c-8277-b0cf00c8c65b/528d670c-b0c8-410d-b289-b0cf00d47a43/468x382.jpg)
Lot 241
NO RESERVE Lewis (Wyndham) The Roaring Queen, number 1 of 100 copies signed by G.A. Lewis [Mrs Wyndham Lewis], Walter Allen and Michael Ayrton, with a frontispiece etching by Ayrton, this also numbered 1 and signed by him, loosely inserted, endpapers lightly toned, original boards, slip-case, 1973; and a trade edition of the same, 8vo (2)
Lot 32
Christopher Richard Wynne Nevinson A.R.A. (British, 1889-1946)Alpine Valley (Chamonix) (Black 105) Drypoint and etching, 1922-23, on laid paper, signed in pencil, framedPlate 174 x 225mm (6 7/8 x 8 7/8in)Sheet 187 x 235mm (7 3/8 x 9 1/4in)For further information on this lot please visit Bonhams.com
Lot 7
Christopher Richard Wynne Nevinson A.R.A. (British, 1889-1946)Manette Street (Black 123) Etching, 1926-27, on laid paper, signed in pencil, from the edition of 75, framedPlate 178 x 140mm (7 x 5 1/2in)Sheet 294 x 233mm (11 5/8 x 9 1/8in)For further information on this lot please visit Bonhams.com
Lot 154
A Collection of Books and catalogues relating to the Grosvenor School and CRW Nevinson Linocuts of the Machine Age: Claude Flight and the Grosvenor School, a Catalogue Raisonné by Stephen Coppel, published 1995 by Scolar Press; Lino-cuts by Claude Flight, published in 1927 by The Bodley Head; Sybil Andrews and the Grosvenor School by Hana Leaper, 2015; Fine Art Prints from the V&A Collection by Margaret Timmers; CRW Nevinson The Twentieth Century, Imperial War Museum exhibition catalogue, 2000; CRW Nevinson, A Printmaker in War and Peace, Osborne Samuel exhibition catalogue, 2014; Modern Masters of Etching: CRW Nevinson, The Studio Ltd, 1932; Contemporary British Artists: CRW Nevinson, 1925, with Nevinson's signature on a card insert; Vorticism and the Grosvenor School, Hearst Gallery exhibition catalogue, 1993, Cutting Edge: Modern British Printmaking, Dulwich Gallery exhibition catalogue, 2019; Sybil Andrews Paintings & Graphic Work, Parkin Gallery exhibition pamphlet, 1980 (11)This 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 28
Christopher Richard Wynne Nevinson A.R.A. (British, 1889-1946)(From) A Paris Window (Black 96) Etching and drypoint, 1922, a good impression, on laid paper, signed in pencil, framedPlate 200 x 152mm (7 7/8 x 6in)Sheet 318 x 230mm (12 1/2 x 9 1/8in)For further information on this lot please visit Bonhams.com
Lot 373
Salmon (Wm.) Polygraphice; or, The Arts of Drawing, Engraving, Etching Limning, Painting, Washing, Varnishing, Gilding, Colouring, Dying, Beautifying and Perfuming, 8vo Lond. (Thos. Passinger) 1685. Fifth Edn. Port. plate of author, add. engd. title, 23 engd. plts. cont. full calf, blind tooled panels, raised bands, lacks label. Good copy. (1)
Lot 990
1928 Minor Leinster Title Medal: G.A.A. (Hurling 1928) A 9ct gold circular Medal, the obverse with pierced harp design and Celtic etching inscribed 'Connradh Laigheann', the reverse inscribed 'Minor Hurling 1928 - won by Dublin,' hallmarked John Miller. (1) * 1928 was the First staging of the Minor Championship. The Dubs had a walk-over in the Leinster Final against Kilkenny. An alternative Final was arranged, where they beat Offaly 6.6 to 3.2. They lost to Cork in the Final after a Replay.
Lot 560
After James Malton (1761-1803) View of the Law Courts, Dublin, approx. 41.5cms x 61cms (16 1/2" x 24") This impressive sepia and watercolour painting of the Four Courts in Dublin, by an unknown artist, is closely based on James Malton’s engraving of the same subject. The painting appears to date from around 1800, and so would have been done not long after Malton's aquatint view was published, in the 1790’s. Although signed ‘Malton’ it is probably by a follower of the artist. * An English-born engraver and watercolourist, James Malton moved to Ireland as a child in the 1780’s, and following his father in taking up the profession of architectural draughtsman, working for a time in the offices of architect James Gandon. Leaving this employment, he began working as an artist, and in 1790 submitted two drawings to the Society of Artists in London. He is best known for a series of twenty five aquatint and etching prints entitled A Picturesque and Descriptive View of the City of Dublin, published in the 1790’s. Several of the buildings he drew, including the Law Courts, had been designed by his former employer James Gandon. Although Malton hoped to capitalise on the growth in prosperity of Dublin, the passing of the Act of Union reduced the importance of the city, and he was obliged to maintain his ties with London, exhibiting frequently there, at the Royal Academy. Among the works he showed at the RA were seventeen views of Dublin in Indian ink and watercolour, mostly depicting the same subjects as his published prints. Larger than the original plates, they also differed in detail, with some figures removed and other added. While it is tempting to see this sepia and watercolour painting of the Law Courts as an autograph work by Gandon, it lacks his firm grasp of architectural perspective and his ability to include figures and carriages rendered with elegance and flair, as exemplified in his book Designs for Rural Retreats, published in 1802. He died the following year, 1803. Dr. Peter Murray, 2023
Lot 339
Graphic Studio: Lalor (Brian) Ink-Stained Hands, Graphic Studio, Dublin and the Origins of Fine-Art Printmaking in Ireland. Folio Dublin (Lilliput Press) 2011. Lim. Edn. No. 46 of 50 Copies, with orig. signed etching by Brian Lalor, profusely illustrated in colour, cloth & slipcase, with copy of Incantata, by Paul Muldoon. V. good. (1)
Lot 339
Russell Sidney Reeve (1895-1970), Untitled dry point etching of a park scene, presumably London with a Church in the background and people in a park / strolling through the park. Signed in plate itself ‘Russell Reeve’. Unframed and unnumbered – perhaps unique. Reeve was a well-known painter and printmaker, born at Hethersett in Norfolk. He exhibited at the Royal Academy from 1927 and his work is represented in many public collections, including the Victoria and Albert Museum and the Tate Gallery. He worked extensively in East Anglia. Plate measures 40cm x 12cm.
Lot 338
Russell Sidney Reeve (1895-1970), ‘Waterloo Bridge’ drypoint etching, signed, titled and numbered in pencil. Edition 44/50. Unframed. Black and white etching of a River Thames level view of Waterloo Bridge, London. Reeve was a well-known painter and printmaker, born at Hethersett in Norfolk. He exhibited at the Royal Academy from 1927 and his work is represented in many public collections, including the Victoria and Albert Museum and the Tate Gallery. He worked extensively in East Anglia. 17xm x 26.5cm.
Lot 340
Russell Sidney Reeve (1895-1970), ‘Eton College’, original etching, signed. C. 1930’s original black and white etching of Eton College, Windsor. Unframed, signed in pencil. Reeve was a well-known painter and printmaker, born at Hethersett in Norfolk. He exhibited at the Royal Academy from 1927 and his work is represented in many public collections, including the Victoria and Albert Museum and the Tate Gallery. He worked extensively in East Anglia. 26cm x 19.5cm.
Lot 1203
Prigogine,H.,: Ponts suspendus. (Paris, GLM 1964). 19,5 x 14 cm. OKtn. 39 SS. 1 Bl. mit 1 kolor. u. signierter Orig.-Radierung von Joan Miró. 39 S. Okart. Eins von 105 (GA 495).num. Exemplaren. - A first copy with the sign etching in colors. - One of the 105 first copies on Arches vellum, the only ones decorated with an original etching in colors signed by Miró, from an edition limited to 495 copies.
Lot 3575
Rembrandt van Rijn, Harmensz: (1606 Leiden - Amsterdam 1669). Die Ruhe auf der Flucht nach Ägypten. Nachtstück. Radierung auf Bütten, um 1644. Plgr. 9,2 x 5,9 cm. Mit schmalem Rändchen. Unter Passep. mont. New Ho. 216 IX (von IX). B. 57. W.-B. 57. Prachtvoller, tiefschwarzer Abdruck des IX. Zustands mit den endgültigen Überarbeitungen. Sehr gut erhalten. Aus einer unbekannten Slg. "OB im Kreis". - The calm on the flight to Egypt. Night piece. Etching on laid paper. Mounted under passepartout. Print of the 9th state. Very good condition. D
Lot 331
After Francisco Goya (Spanish. 1746 – 1828). Four lithographs from Los Caprichos (The Caprices). Including 'Lo que puede un Sastre'. Printed from Goya's original etching plates. Probably from the 9th edition printed between 1908 and 1912 but maybe earlier. Framed and glazed. Each measure H.48 x W.33 cm.
Lot 330
After Francisco Goya (Spanish. 1746 – 1828). Four lithographs from Los Caprichos (The Caprices). Including 'El de la Rollona'. Printed from Goya's original etching plates. Probably from the 9th edition printed between 1908 and 1912 but maybe earlier. Framed and glazed. Each measure H.48 x W.33 cm.
Lot 78
From the series "Snow, snot and snails" signed, dated, titled, numbered in pencil "SNAILS/ 19/23 / 1992/ NOT VITAL" (on the sheet); dedicated in pen by Landa Crommelynck, the wife of the engraver Piero Crommelynck to Marc Baron, the publisher: "A Marc avec l'amitié de Landa C." (on the reverse)etching, aquatint Ed. 19/2313 x 10.5 cm (à vue)executed in 1992
![Heath Robinson, William. The Gentle Art of Reproducing, London: The Practical Etching Service, [1931]. A very scarce example](https://cdn.globalauctionplatform.com/52ef07b6-546d-4890-a123-b0ca00d38fb2/c35d4a9d-4c2c-4fae-b602-b0cf011826fc/468x382.jpg)
Lot 76
Heath Robinson, William. The Gentle Art of Reproducing, London: The Practical Etching Service, [1931]. A very scarce example of Heath Robinson's commercial artwork for an advertising brochure. Small folio, 31cm, pp. 28, illustrated with 11 plates, sewn card covers. Internally very well-preserved & bright, fine or near-fine, the card covers with some handling marks & marginal wear. "His advertising artwork is little known and rarely seen." [Eye Magazine, August 2018]. This rare brochure features in Heath Robinson's Commercial Art, by Geoffrey Beare [Lund Humphries, 2017]
Lot 1738
William Lionel Wyllie (1851-1931), etching, 'Lobster fishers', signed in pencil, 20 x 25cm***CONDITION REPORT***PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail.
Lot 1836
Charles John DeLacy (1856-1936) and Albany E. Howarth (1872-1936), drypoint etching, 'The Storming of Zeebrugge Mole. St George's Day, 23rd April 1918', signed by both artists, 44 x 60cm***CONDITION REPORT***PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail.
Lot 1763
William Lionel Wyllie (1851-1931), etching, 'Bay of Naples', signed in pencil, 19 x 39cm***CONDITION REPORT***PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail.
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